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The Rock Movie Script

Writer(s) : Jonathan Hensleigh

Genres : Action

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			THE ROCK


	
			BY



			Jonathan Hensleigh



Revised 10/10/95

BEGIN MAIN 'TITLE SEQUENCE:

An impressionistic montage:

A SILHOUETTED MAN in front of mirror dons his Marine dress blues.  Spit
polish shoes laced.  Medals clipped to jacket.  All in CLOSE-UP.  We
never see him fully.

The Man puts HIS HAT squarely on his head.  EYES glint.

On the man's dresser: MARINE MEMORABILIA.  Three Purple Hearts, photos
of a WOMAN (his wife), PHOTOS OF MARINES in combat locales.  TIGHTER
into the photos, we HEAR PANICKED VOICES, EXPLOSIONS, NOISES OF BRUTAL
COMBAT.



IMAGES: Through smoke, a desperate MARINE PRIVATE who knows he will
never be rescued... TWO MARINES walk up to a farmhouse door; through the
screen we see a MOTHER AND DAUGHTER who know what the news will be...



IMAGES: A MARINE COLOUR GUARD carries a COFFIN...  Now we are the coffin
as a FLAG drapes down on us. placed into a YOUNG WOMAN'S HAND.

Now we're in ARLINGTON CEMETERY.  Images of the cemetery are reflected
in wet puddles, as the SPIT-SHINED SHOES walk past images of the TOMB OF
THE UNKNOWN SOLDIER a ROW OF GRAVES comes into focus



A1G CLOSE-UP on the MARINE'S HAT, and his EYES.  Suddenly AN EXPLOSION
and we see --

A MARINE in a jungle, radioing for help: ,You gotta get us outta here
sir, Jesus, they're all over us... ! And an' EXPLOSION ends the
communication ...



AII  CLOSE-UP on the MARINE'S EYES and FADE IN:

EXT.  ARLINGTON NATIONAL CEMETERY - MORNING

Two groundskeepers on "ride 'em" lawn mowers, BENNIE and MARLIN, smoke
Camels and watch the MARINE OFFICER from the opening montage.  He's
alone, across the cemetery.



						BENNIE 
		You'll get used to him.  Every Sunday morning - rain, snow,
		holidays nothin, keeps him Away.



ACROSS THE CEMETERY

Brig.  Gen.  FRANCIS XAVIER HUMMEL stands before a headstone: BARBARA
MCLEAN HUMMEL 1946-1996.



						HUMMEL
		Hi Barb.  The house sold yesterday.  I know, I know, the market's
		depressed. Anyway, I'm leaving the area.  Some things I have to
		do.  Things I couldn't do while you were here.  Maybe you would have
		approved.  Hell, I know you wouldn't have. (beat) I've tried everything
		and I can't seem to get their attention.  But now they'll learn how it
		feels on the other side.  Let's hope it elevates their thinking.



Hummel puts new flowers on the grave.  Walks off.

EXT.  ACCESS ROAD TO ARMY WEAPONS COMPOUND - NIGHT

Heavy rain.  A road next to a heavily guarded bunker facility.  A canvas
covered ARMY TRUCK blows a tire in the road.  The DRIVER gets out. 
Inspects the tire.



INT.  ARMY TRUCK - NIGHT

FOUR MARINES in black suits dive through a hole in the truckbed floor
into a MANHOLE IN THE ROAD.



EXT.  ARMY WEAPONS COMPOUND - FRONT GATE - NIGHT

Three ARMY M.P.s at the front GUARDHOUSE.  GENERAL HUMMEL pulls up in a
SUBURBAN.  The M.P.s immediately recognise him and stand more rigidly.



					ARMY M. P. 
		General Hummel, sir.  It's an honour. Is the Colonel
		expecting you, sir?



					HUMMEL
		Held better be.  This is a security inspection.



					ARMY M. P.
		Yes, sir!

The M.P. waves Hummel in, saluting crisply.

INT.  GRATED STORM DRAIN IN BUNKER COMPOUND - NIGHT

The four marines from the truck are waiting, readying arms.  The leader
is looking at his watch.  Gives a hand signal to the others, and up they
go --



EXT.  BUNKER COMPOUND - NIGHT

The four marines emerge from the storm drain and move toward covered
positions in the compound.



200 YARDS AWAY - TWO ARMY "MAGAZINE CHECKERS" emerge from a building
with clipboards, on routine check.


INT.  BUNKER SECURITY BUILDING - NIGHT

The Army M.P.s escort General Hummel inside.  THREE ARMY GUARDS spring
up from their SURVEILLANCE MONITORS.  Everyone's nervous, in awe, rigid
at attention.  COLONEL CALLAHAN emerges from an adjacent room,
sleepy-eyed.



					COLONEL CALLAHAN 
		General Hummel!  This is a surprise!



				HUMMEL 
		That's the idea, Colonel.



EXT.  BUNKER COMPOUND - WATCH TOWER - NIGHT

Two marines position themselves outside the door to the bunker
compound's elevated watch tower.



.EXT.  BUNKER COMPOUND - NIGHT

Below the watch tower, the ARMY MAGAZINE CHECKERS approach.  Marines 1
and 2 spring out, armed with M-16s with over/under grenade launchers
They shoot BEAN BAG projectiles at the Army Guards, who collapse, dazed.



INT.  BUNKER COMPOUND WATCH TOWER - NIGHT

Marines 3 and 4 burst inside the watch tower.  The guards inside spring
up.  BOOM BOOM, they're hit by bean bag projectiles, propelling them out
the windows of the watch tower.  They fall 10 feet and lie unconscious.



EXT.  BUNKER COMPOUND - NIGHT

Marines 1 and 2, now in MAGAZINE CHECYERIS UNIFORMS, move to the BUNKER
DOOR.  They open the door with the Magazine checker's CODED CARDS.



INT.  CHEMICAL WEAPONS BUNKER - NIGHT

Two ARMY GUARDS, playing poker, look up at the entering marines. 
Marines 1 and 2 walk straight up to the Army Guards, holding them at bay
with M-16s.  Before any words are spoken, one of the marines injects
each of the guards with a VACCINE PISTOL.



INT.  BUNKER SECURITY BUILDING - NIGHT

Four more marines led by SGT.  CRISP enter, holding Col. Callahan,
General Hummel and the Army Guards at bay.



					SGT.  CRISP
		This is a security exercise, sir. We've fully breached and
		infiltrated your compound.  I'm afraid you and your men are my
		prisoners, sir.

The marines begin cuffing the Army Guards to the radiator and taping
their mouths.



					SGT.  CRISP 
		Sorry sir, you realise the importance of these exercises.



						HUMMEL 
					(to Callahan) 
		Ten men who could have been terrorists are out there
		doing whatever they damn well please to your compound, Colonel.  Here
		you sit with your ass chained to a fucking radiator.  This is not a
		tight ship.  I would not want to be in your shoes in the morning.



Sgt.  Crisp hits the FRONT GATE'S OPEN BUZZER and follows Hummel out of
the room.



EXT.  ARMY WEAPONS COMPOUND - FRONT GATE - NIGHT

The gate swings open.  TWO HUMVEES enter the compound.

EXT.  CHEMICAL WEAPONS BUNKER - NIGHT

The marines use a 'rabbit tool, (hydraulic, compact and powerful) to pry
open the bunker's steel doors.  They rush down a hallway.



CHEMICAL WEAPONS BUNKER - INTERIOR HALLWAY - The marines rush up to
another steel door and quickly pry it open.



INT.  C.B.W. BUNKER - NIGHT

A refrigerated storage room for chemical weapons.  Storage tubes are
labelled: V.X. POISON GAS.  Across the room are rockets labelled: 55 115
MM BOLT ROCKETS.



Using the TRACK HOOK SYSTEM in the bunker's ceiling, the marines move
the V.X. CHEM ROUNDS and BOLT ROCKETS to the waiting humvees.  It's very
fast, like clockwork.



EXT.  ARMY WEAPONS COMPOLIND - FRONT GATE - NIGHT

The Humvees, followed by Hummel in his Suburban, roar out of the
compound.  CUT TQ:



INT.  H " EL'S SUBURBAN - NIGHT

Hummel on a c.b. radio: A textbook exercise, gentlemen. Rendezvous in
eleven hours.


EXT.  F.B.I. FIELD OFFICE, FT.  DIETRICK, MD. - DAY

Establish headquarters for chemical/biological weapons.

INT.  F.B.I. OFFICE - CHEMICAL/BIOLOGIAL DIVISION - DAY

A WINDOWED DOOR stencilled "Chemical/Biological Weapons Division." A
RUBBER DART hits the glass and drops into A TRASH CAN next to the door.


					ISHERWOOD
					 (V.O.)
		Son of a bitch...

					GOODSPEED
					 (V.O.) 
		You owe me five dollars, Marvin.



ACROSS THE ROOM - BILL GOODSPEED, 30, and partner/trainee MARVIN
ISHERWOOD, 25, feet up on desks, with toy guns.  This is Man's Boredom. 
A ceiling fan circles.  Isherwood yawns; scratches neck with his gun
barrel.



GOODSPEED reloads.  Aims.  Fires.

THE DART hits A CARDBOARD TARGET across the room which activates a Rube
Goldberg series of events ending in a PLASTIC GIRL being ignited in a
PAN OF CHEMICALS.



GOODSPEED, without even getting up, casually sprays the pan with flame
retardant foam.



					ISHERWOOD
					 (yawns) 
		I was told this was exciting work.



					GOODSPEED 
		Patience, Marvin.  It has its moments.



A KLAXON sounds.  Isherwood smiles excitedly.

INT.  F.B.I. CHEMICAL WEAPONS - BASEMENT CORRIDOR - DAY

Isherwood follows Goodspeed down a grimy, off-white corridor illuminated
by antiseptic light.  This is an older building.  Hasn't been
refurbished and shows it.



INT.  F.B.I. CHEMICAL WEAPONS - LABORATORY - DAY

A medium-sized laboratory, where 5 F.B.I. TECHNICIANS are bent over
tables of beakers, test-tubes, Bunsen burners, etc.  The room and
equipment are old and used; could be 1976 rather than 1996.



Along one side of the lab is a plexi-glass wall. Inside the plexi-glass
is an airlocked GAS CHAMBER. F.B.I chemists LONNER and LING motion to
Goodspeed.

					DR. LONNER

		C'mere, Billy. 
			(points inside gas chamber) 
		A dog at J.F.K. got a whiff of something postmarked to a Bosnian 
		refugee camp.  Could be detergent, could be seran gas.



INSIDE THE GAS CHAMBER - is a LARGE WOODEN CRATE next to a TABLE OF
POISON DETECTION INSTRUMENTS.



					ISHERWOOD 
		Bosnian refugee camp?  I don't get it.



					GOODSPEED 
		Half a million Serbians reside in the U.S., Marvin.  Serbians
		don't like Bosnians.  Read a newspaper.  It's good for you.  Hold out
		your hand.



Isherwood does so.  It's shaky.

					ISHERWOOD 
		I'm okay.  Really.  Let's do it-



Hold on Goodspeed's uncertain look, and CUT TO:

INT.  GAS C ER - DAY - MINUTES LATER The door HISSES open.  Goodspeed
and Isherwood, in vulcanized rubber suits and visored helmets, enter. 
They go to the INSTRUMENT TABLE before the crate.



A GLASS VESSEL with tiny air holes (like a salt shaker) descends from
the ceiling.  Inside are COCKROACHES. .



						GOODSPEED 
		Coal miners use canaries, we use those. Sorry guys.



						DR. LING
 					  (into mike) 
		We have airlock, Bill.  Proceed.



						GOODSPEED
					(into helmet mike) 
		July 1, 0.900 hours, agent william
		Goodspeed and agent/trainee Marvin Isherwood.  Initiating exam of a
		wooden crate.  Suspicion of seran gas device inside.



Goodspeed grabs a pry-bar from the instrument table-and slowly pries
open the cratels wooden lid.  He motions to Isherwood.  Together they
gingerly lift the lid.

INSIDE THE CRATE - it's filled with "UNICEF" type stuff. Goodspeed lifts
out a HOT-PLATE.  Isherwood lifts out an EGG BEATER.  Gocidspeed runs a
POISON SENSOR past each.



						GOODSPEED 
		Appears to be kitchen items, cleaning agents, and... (lifts
		out a sweatshirt) ... old clothes.


						ISHERWOOD 
		This is thrilling.


Isherwood lifts out a DOLL.  Goodspeed's POISON SENSOR'S NEEDLE goes
crazy... !


						GOODSPEED 
		Careful, goddamn it Marvin!



The doll's eyes open.  Its mouth blast a PINKISH SPRAY, hitting
Goodspeed's forearm and Isherwood's palm.



OUTSIDE THE GAS CHAMBER - DR.  LING stabs a button marked "exhaust" and
another marked "emergency."



A KLAXON sounds.  F.B.I. TECHNICIANS race for the exit.


IN THE GAS CHAMBER - The pinkish gas hovers in the air. CEILING EXHAUST
FANS begin to suck it up.



IN THE GLASS VESSEL - The cockroaches convulse, flip in the air and
explode, guts splattering the vessel walls.



						ISHERWOOD 
		What's hap...  what's happening....?



DR. LING looks at a DIGITAL CLOCK on the control panel.

						DR. LING 
	Don't panic, Bill. 50 seconds and the gas will clear.  You're
	okay.



Goodspeed grabs the doll from Isherwood, slams it on the table, and
grabs A SCALPEL.  Cuts open the doll's chest.



						GOODSPEED 
		I've got some bad news and some really bad news.  The bad news
		is the gas is corrosive.  It's eating our suits.



ISHERWOOD looks at his RUBBER GLOVES.  The rubber is beginning to bubble
and corrode.



						DR. LING 
		What's the really bad news.



GOODSPEED peels back the doll's plastic chest, revealing: a C-4
EXPLOSIVE DEVICE and TEN POISON AMPULES.

						GOODSPEED 
		Enough C-4 explosive to blow the chamber and enough poison gas
		to kill everybody in the building.



Isherwood's and Goodspeed's rubber gloves are melting.

						ISHERWOOD 
		The acid's eating...  it's eating my fucking suit...



						GOODSPEED 
		Chill, Marvin. 
					(yells outside) 
		WHERE'S THE GODDAMN SPRINKLERS?



Dr. Lonner flips on the sprinklers.  The pipes KNOCK.  A FEW PATHETIC
DROPS trickle from the SPRINKLER HEADS.



						DR. LONNER 
		Something's blocking the pipes, Bill.  When in Christ's name
		are they gonna give us a new building ...



						DR. LING 
		Get the atropine, Isherwood. The atropine, Marvin.



Isherwood, terrified, jerks open an OVERHEAD CABINET, revealing several
6 inch needled SYRINGES.



						DR. LING 
		You die, we all die, Bill.  Inject yourself, then diffuse it.
			(Goodspeed continues to inspect-the device)
		Goddamn it, Bill, take the antidote.



Isherwood fumbles with a huge syringe.

						GOODSPEED 
		Get that away from me. 
				      (to himself)
		I hate needles.



						DR. LING 
		INJECT YOURSELF!


						GOODSPEED 
		LONNER, WHERE'S THE GODDAMNED WATER?


The pipes are KNOCKING, now they're COUGHING.

						DR. LONNER 
		It's coming, it's coming ...


ISHERWOOD sinks to his knees, holding the huge syringe in front of his
heart, hari-kari style, hands trembling ...

GOODSPEED concentrates on the device; his calm is unsettling.  His hands
flash, grabbing instruments and performing precise, deft, functions.  He
snips a wire and splices it.  Another.  Another.



						DR.  LING 
						(sweating it out)
	Ten seconds, Bill.



Isherwood moves the syringe closer to his chest.

						ISHERWOOD 
		Oh fuck oh shit oh fuck THIS IS LIKE FUCKING PULP FICTION ONLY
		IT'S REAL.



ISHERWOOD drops the syringe.  Fumbles for another... GOODSPEED,
ice-cold, continues on the device ...



						DR. LING 
		Five seconds, Bill, four seconds, Jesus Christ ...



GOODSPEEDIS RUBBER GLOVE is stretched to transparency. we see
GOODSPEED'S FLESH through the acid-eaten rubber.  He makes one final
cut-and-clamp.  THE DETONATOR on the poison gas turns off.



						DR. LING 
		Three, two...  the gas is clear!



OUTSIDE THE GAS CHAMBER - GREEN LIGRTS FLASR on the control panel and A
TORRENTIAL SPRAY soaks GOODSPEED AND ISRERWOOD.  Isherwood is wide-eyed
and trembling.  Goodspeed glares at him.



						DR. LING 				
		Next time use the atropine!



						GOODSPEED
		I don't like needles.


EXT.  GEORGETOWN - STREETS/ALLEYWAY - DAY

The bohemian part around Georgetown U. Goodspeed heads down an alley
between two townhouses.  LOUD COUNTRY MUSIC emanates from an apt. above.
Goodspeed ascends.



INT.  GEORGETOWN - GOODSPEED'S APARTMENT - DAY

A young woman stands in the middle of the living room, belting out a
Carlene Carter tune in cowboy boots, rhinestone blouse and skirt.  CARLA
PESTALOZZI, 20's, is playing guitar, accompanied by a boom box.


						CARLA 
		Every little dream I dream about you, Every little song I sing
		about you, It drives me crazy when you go away, (notices Goodspeed)
		Wanna keep you locked up at home ...


Goodspeed walks past her into the kitchen.  Carla turns down the music. 
Goodspeed re-enters with a Budweiser.


						CARLA 
				(New Jersey accent) 
		Hey there.



						GOODSPEED 
		Hey honey.


						CARLA 
		Wrote a new song.  Wanna hear it?



Goodspeed sits heavily on the couch.  Rubs his temples. 

						GOODSPEED
		Not now.

						CARLA 
		Boy, somebody's in a bad mood.



						GOODSPEED 
		Yeah, somebody's in a bad mood.



Carla changes the c.d.: A PUCCINI OPERA plays.

						CARLA 
		Better?

						GOODSPEED 
		Much better. She sits with him.  Puts her arm around him.

						CARLA 
		What happened baby.  Tell me.


						GOODSPEED 
		Had a close one.

						CARLA 
		You want to talk about it?


						GOODSPEED 
		Not really.

						CARLA 
		You know how I feel about what you do.

						GOODSPEED 
		Could we change the subject?

						CARLA 
		That record company.in Nashville wants to hear my demo tape.

						GOODSPEED 
		Hey!  Now there's some good news.

						CARLA 
		You think I'm too...  ethnic for country music?

						GOODSPEED 
		Carla Pestalozzi?  No. Definitely not.  You could have posed
		for the Mona Lisa.  Sophia Loren looks Swedish next to you.
						 (smiles) 
		I hope that's a compliment.  I could change my name.  How 'bout
		Bobby Sue Pestalozzi?  Billy io Pestalozzi?



						GOODSPEED 
		Stick with Carla.

						CARLA 
		Okay.  How 'bout Carla Goodspeed? 
				(GOODSPEED frowns) 
		Six years, Bill.  We've lived together six years.



						GOODSPEED 
		We've talked about this, Carla, we've talked it up, down,
		inside and out ...



						CARLA
		Billy, this probably isn't the best time ...
		Bill, I'm uhhh.


						CARLA 
		I'm pregnant.



						GOODSPEED

		You're what ... ?

She holds Up a positive home pregnancy test and CUT TO:

EXT.  DESERT AREA (SOUTHWESTERN U.S.) - DAY

TWO = Y GUNSHIPS roar over camera and land next to the two Humvees.  The
Huey's doors open.  Marine Captains FRYE and DARROW, both late 20's,
drag out two MARINE LANCE CORPORALS, bound and gagged, and sit them
down.  Other marines roll gurneys laden with chem rounds, rockets and
other equipment onto the Hueys.

They Hueys ascend and SCREAM off across the desert and CUT TO:

EXT.  SAN FRANCISCO - AFTERNOON


Establishing shots of San Francisco and Alcatraz Island in the middle of
San Francisco Bay.


EXT.  ALCATRAZ ISLAND - AFTERNOON

A PARK RANGER (JOE) leads a group of 80 TOURISTS across the prison
exercise yard.  In the background looms the city of San Francisco and
Golden Gate Bridge.



						PARK RANGER JOE 
		Alcatraz - "the Rock" - is the most famous, and was the
		most feared, prison ever built.  Here the inmates were allowed one hour
		of daily exercise.



						FEMALE TOURIST 
		Is it really true no one escaped?



						PARK RANGER JOE 
		True, madam.  From 1936 until the prison's closing in
		1963, there were fourteen attempts but no one's believed to have made
		it to shore - alive at least.



The tourists file off toward the MAIN CELL HOUSE.  Bringing up the rear
are Gen.  Hummel, Maj.  Baxter, Sgt.  Crisp, Capt.  Hendrix, and Pvts. 
Scarpetti,.  Royce, Gamble and Starling, all in civilian clothes.



Hummel motions to Crisp, who bleeds off with Scarpetti and Royce. 
Hummel and the others continue with the group.



INT.  ALCATRAZ - MAIN CELL HOUSE - AFTERNOON

Cell Blocks B and C, which inmates called "Broadway." A long corridor
with three tiers of cells on each side.



The Ranger leads the tourist group inside.

					PARK RANGER JOE 
		Al Capone; Machine Gun Kelly; Robert Stroud, the Birdman
		of Alcatraz; all lived in these cells.



The Ranger pulls the CELL DOOR OPEN/SHUT LEVER (recessed in the wall at
the end of cell block).  All the cell doors on the first floor slide
open.


					PARK RANGER JOE 
	Now Ladies and Gentlemen, the U.S. Park Service
	cordially invites you to become inmates of Alcatraz - temporarily of
	course.



The tourists laugh and move inside the cells.

EXT.  ALCATRAZ - WHARF - AFTERNOON The side across from San Francisco. 
The TOURIST BOAT is docked in front of the U.S. PARK RANGERS' OFFICE.



Sgt.  Crisp and Pvts.  Scarpetti and Royce walk up to the Ranger's
office.  They look left and right, then enter.



INT.  ALCATRAZ - U.S. PARK RANGERS OFFICE - AFTERNOON TWO PARK RANGERS
and a SECRETARY look up.

					ALCATRAZ PARK RANGER 
		You're not supposed to leave the tour, guys.  Is
		there a problem?



					SGT.  CRISP 
		Big problem.

INT.  ALCATRAZ - MAIN CELL BLOCK - AFTERNOON

The tourists are in the cells, looking around.  Park Ranger Joe notices
Hummel, Baxter, and the other marines standing behind him.  Smiles:

					PARK RANGER JOE
		Don't want to be locked up, fellahs?

					HUMMEL 
		Not today.  You go ahead.

					PARK RANGER JOE 
		I don't think so hah hah.

Baxter draws a .45 and places it to Ranger ioe's head.

					HUMMEL 
		I think so.

Startled, Park Ranger Joe backs into a cell.  Baxter grabs the cell door
open/shut lever and yanks it.  The cell doors CLANG shut.  Hummel,
Baxter and the others walk off.



					TOURISTS 
		Hey, what are you doing... ? -- wait a minute, what's going
		on... ?

EXT.  ALCATRAZ - PARADE GROUND - AFTERNOON

Hummel and Baxter walk up to the PARADE GROUND as THE TWO HUEY GUNSHIPS
approach.  They hover above the parade ground.  Cpts.  Frye and Darrow
rope-deploy from the Hueys.  They stand at attention, saluting Hummel
and Baxter.

					CAPTAIN FRYE 
		General Hummel: Captains Frye and Darrow.

					HUMMEL 
		Deploy as planned, Captain.

				(unison) 
		Aye, aye, sir.

FRY AND DARROW

They hand signal to the Huey pilots.  The Hueys take off around the back
of the island.  
						CUT TO:

A MONTAGE of short INTERCUT scenes, all AFTERNOON:

THE INFIRMARY, UPSTAIRS ROOM A former hospital room will be the command
and communications center.  PVTS.  GAMBLE and STARLING set up a portable
desk, chair, and an array of communications equipment (including
portable satellite dish and look out).



EXT.  THE ISLAND'S SHORELINE

CPT.  HENDRIX AND PVTS.  ROYCE and SCARPETTI lay motion sensors on the
perimeter.

INT.  THE PRISON MORGUE

PVTS.  COX and MCCOY load the V.X. CHEM ROUNDS from INSULATED COOLING
BAGS (size of a big gym bag) into the morguels CORPSE DRAWERS.

MAJOR BAXTER sets up a PORTABLE Rocket LAUNCHER.

EXT.  MAIN CELL HOUSE ROOFTOP CAPTS.  FRYE and DARROW set up a second
portable rocket launcher.



INT.  ALCATRAZ - MAIN CELLHOUSE - DAY

The tourists are now panicked, confused, and making a commotion. 
Shouting and yelling.  A woman is crying.

Suddenly a .45 is fired.  Total silence.  Hummel and Baxter, followed by
Pvts.  Gamble and Starling (pulling a gurney stacked with MARINE FIELD
RATIONS), walk to the middle of the cell block.

						HUMMEL
		Hello Ladies and Gentlemen.  You are my prisoners.  I have no intention
		of harming you.  You will be fed regularly.  That is all you need to
		know for now.

Gamble and Starling begin passing out the field rations. 53 INT. 
WASHINGTON D.C. - J. EDGAR HOOVER BUILDING - NIGHT F.B.I. Director JAMES
WOMACK exits his office in a tuxedo, trailed by MARGIE WOOD, a young
F.B.I. Agent.


						F.B.I. DIRECTOR WOMACK 
		Can it wait till morning, Agent Wood, I'm going
		to hear Bruce Springsteen ...


						AGENT WOOD 
				(re: Womack's tux) 
		In that?

						F.B.I. DIRECTOR WOMACK 
		Christ, the concert's for the Prince of Wales or
		somebody ...

						AGENT WOOD 
		I really think you should take this call personally.

They stare at each other and CUT TO: 54 INT.  HOOVER BUILDING - DIRECTOR
WOMACK'S OFFICE - NIGHT -- Womack, grabbing his phone. F.B.I. DIRECTOR
WOMACK F.B.I. Director Womack.

						HUMMEL 
							(V.O.) 
		First:	I am holding eighty-one civilian hostages on
		Alcatraz Island.  Make an excuse to their families and do not alert the
		media or there will not be eighty.  Second: fifteen guided rockets armed
		with V.X. poison, are currently aimed at the population of San
		Francisco.  I will call again at 0-hundred hours and state my demands.


						F.B.I. DIRECTOR WOMACK 
		Wait.  Who is this?

						HUMMEL 
		Brigadier General Francis X. Hummel.

CLICK.  Womack stares at the phone: calls to outer office:


						F.B.I. DIRECTOR WOMACK 
		Mary Jane, get the Pentagon! (to Agent Wood) Call
		the San Francisco office.  It seems Alcatraz was just re-opened.

Agent wood gives him a curious look and CUT TO:

INT.  ALCATRAZ - INFIRMARY/COMMAND CENTER - AFTERNOON

Cpts.  Hendrix, before Hummel.

Frye, and Darrow, and Sgt.  Crisp at attention Maj.  Baxter at Hummells
side.



						HUMMEL 
		At ease, Gentlemen.  It is traditional for me to meet with my
		officers before an operation.  The heart performs one thing, the legs
		another, the brain another - all better function together or the body
		becomes ill, is prone to disease. (beat) Major Baxter, Gunny Crisp and I
		have been on the front lines since 'Nam.' Captain Hendrix was my
		adjutant in the Gulf.  Get a haircut, Pete, you're lookin' like a
		beatnik. 
			(the crew-cutted HENDRIX smiles Captain Frye, Captain Darrow.) 
		You and your men are new to me.


						CAPTAIN FRYE 
		Would the General like a recitation of our service records?


						HUMMEL 
		I'm well aware of your service records, Captain, they are
		excellent.  I want to be clear on why you - why all of us are here.  You
		both stand to profit from this.


					CAPTAIN FRYE 
		Profit is not my motive, sir.  I am here to redress a
		wrong.


					CAPTAIN DARROW 
		Yes, sir, and to learn some people a lesson.


					HUMMEL 
		This country has places where wrongs are redressed, Captain
		Darrow: They are called courts of law.  In the military, they are called
		Courts Martial. This country has places where lessons a-re leaned.  They
		are called schools.  Am I confusing you?


					CAPTAIN DARROW 
		Well, sir, frankly ...
		EL I see that I am ' 
						(beat)

					HUMMEL 
		The only accurate term for what we are doing here is treason. 
		Plain and simple.  An insurrection against a government to which we have
		sworn allegiance.  Everyone in this room must understand that.

Hummel looks from face to face, studying each.

					HUMMEL 
		The question is what kind of traitor are we.  Coward or lion? 
		Benedict Arnold, or Thomas iefferson?  I have posed that question to
		myself, have answered it, and my conscience is clear.  Have all of you?



					HUMMELS' OFFICERS 
		Yes, sir.

					HUMMEL 
		Within thirty-two.hours you will leave this country and not
		return.  All of you can live with that?

					OTHER OFFICERS 
						(unison) 
		Yes, sir.

					HUMMEL 
		Well, I cannot.  So, regardless of what happens on this island in
		the hours ahead, I will stay. The men exchange surprised glances.

					CAPTAIN HENDRIX 
		But General, you'll be prosecuted.

					HUMMEL 
		Yes, Captain.  And I plan on conducting my own defense. it will
		make the O.J. Simpson trial look like an episode of "Perry Mason." Take
		your posts, gentlemen.  Semper fi.
	
Hummel's men fall out and exit.  Baxter, the last to exit, salutes
Hummel.

INT.  PENTAGON - SITUATION ROOM - NIGHT

Many people around a table, each with a DOSSIER on Hummel:

F.B.I. Director Womack (still in tuxedo), F.B.I. agent Margie Wood,
White House Chief of Staff HAYDEN SINCLAIR, National Security Advisor
LOUIS LINDSTROM, Chairman of the Joint Chiefs GENERAL ALBERT KRAMER, Air
Force General PETERSON, and C.I.A. Director MILTON AMWAY.



					GENERAL KRAMER 
		Last night Hummel and eleven marines, under the guise of
		a security exercise, walked off with fifteen V.X. rockets.  It wasn't
		discovered until the shift change this morning.


ON THE SCREEN - A YOUNGER HUMMEL in Vietnam.


					GENERAL KRAMER 
		Here he is in Vietnam - I think a Major at the time.



MORE SLIDES OF HUMMEL in various international theaters.

					HAYDEN SINCLAIR 
		Four tours in Vietnam, Grenada, Panama, Desert Storm. 
		Three purple hearts... two silver stars and... the Congressional Medal
		of...  Jesus. 
					   	(looks up) 
		The man is a hero.



					GENERAL KRAMER 
		A legend.  During Tet he held off a brigade of V.C.
		single-handedly.  Saved his whole company.  Hence the nickname
		"gunfighter."



					F.B.I. DIRECTOR WOMACK 
		What was this book Hummel wrote on Vietnam? 
		Anybody read it?


					RAYDEN SINCLAIR 
		No.  Give me the skinny.


					GENERAL KRAMER 
		The "skinny," Mr. Sinclair, is that the U.S. should have
		either won the war or gotten the hell out of Vietnam and stopped wasting
		American lives.  I happen to share General Hummells view.



The door opens.  A NAVAL ATTACHE pokes his head in.

					NAVAL ATTACHE 
		General, it's him. The call connects to a phone on the
		table.

					GENERAL KRAMER 
		Frank, this is Albert Kramer.


					HUMMEL 
		Hello Al.  Howlre Judy and the kids?


					GENERAL KRAMER 
		They're fine.  I'm with General Peterson, F.B.I.
		Director Womack, Chief of Staff Sinclair, Security Advisor Lindstrom,
		and C.I.A. Director Amway.  You've got a lot of people worried, Frank. 
		Can you help us out?


INTERCUT - PENTAGON and ALCATRAZ as necessary.

					HUMMEL 
		I'll come straight to the point, General Kramer: Eighty-three
		Force Reconnaissance Marines have died under my various commands. 
		Forty-seven in northern Laos and southern China ...


					HAYDEN SINCLAIR 
		Southern China?  We never admitted we sent troops into
		China.

There is a pause.

					HUMMEL 
		Who is that.  Identify yourself.

Everyone stares at sinclair.

					HAYDEN SINCLAIR 
		White House Chief of Staff Sinclair, General.



					HUMMEL 
		How old are you, white House Chief of Staff Sinclair.



					RAYDEN SINCLAIR 
		I'm thirty-three.

					HUMMEL 
		Well White House Chief of Staff Sinclair, by your ninth birthday
		I had led over two hundred incursions into China and personally killed
		that many of the enemy. General, put some duct tape over Mr. sinclair's fat,
		ignorant mouth.  He has shit for brains and he is wasting my time.



Sinclair's irritation is relieved by the Naval Attache, entering again,
who hands him a phone and whispers:



					NAVAL ATTACHE 
		The President calling from Moscow.

Sinclair walks to the far corner of the room with the phone, speaking
sotto voice.


					GENERAL KRAMER 
		Continue Frank.

					HUMMEL 
		Eighteen others died in covert, illegal operations in Chile and
		El Salvador.  Remember the Gulf War.  Those pretty "smart bomb" pictures
		on C.N.N.? My men lased those targets.  Ten were left to rot outside
		Baghdad when the conflict ended - and let's not even mention Mogadishu,
		gentlemen.  No benefits were paid to their families; no medals
		conferred.  These men died for their country and they weren't even given
		a coddamn military burial. 
					(beat) 
		This situation will not stand: you
		will transfer 100 million dollars from a Grand Cayman "Red Sea Trading
		Company" account to an account I designate.  From these funds,
		reparations of one million dollars will be paid to each of the 83
		marines, families.  The rest of the money will pay for my outfit's
		expenses.  Am I clear?


					F.B.I. DIRECTOR WOMACK 
		Except for the Red Sea Trading Company. What is
		that?



					HUMMEL 
		Identify yourself.


					F.B.I. DIRECTOR WOMACK 
		F.B.I. Director Womack, General.



					HUMMEL 
		You'll be particularly interested: It's a slush fund where the
		Pentagon keeps proceeds from illegal arms sales.

					GENERAL KRAMER 
		Frank, Jesus, this is classified information.


					WOMACK 
					(stunned) 
		Is this true?

General Kramer, embarrassed, nods yes.

					HUMMEL 
		If you want the money back, you'll have to tell the attorney
		General and the boys down at Justice where it came from.  Good luck.


Hayden Sinclair returns to the table.


					HAYDEN SINCLAIR 
		General, I've just spoken to the President and he is
		clear as hell on this: We will not negotiate with you and we do not care
		if ...


					HUMMEL 
		Someone please gag that man. 
					(beat) 
		Alert the media, I launch the gas.  Refuse payment, I launch the gas.
		It is just after midnight.  You have 36 hours - all of today and half
		of tomorrow, until 12 noon - to transfer the money.  Don't even consider
		the standard counter measure, General.


					GENERAL KRAMER 
		What's the potential casualty rate of a single rocket
		armed with V.X., General Peterson?


					GENERAL PETERSON 
			In a dense urban area, sixty, seventy ...


					RAYDEN SINCLAIR 
		Well that's not so bad ...



					I GENERAL PETERSON 
		Thousand.  Seventy thousand.  Dead. one teaspoon will
		kill all living organisms in a three story office building.  Get the
		point?



					F.B.I. DIRECTOR WOMACK 
		What did Hummel mean by ",standard countermeasure," General?

					GENERAL PETERSON 
		Napalm.  Standard pgison gas can be neutralized by napalm.  
		It burns it up -- consumes it upon detonation.  The problem is
		that V.X. gas is ten times more toxic and designed to withstand napalm. 
		Hummel must know about Willy Peter, General.


					GENERAL KRAMER 
		'Course he does. 
					(explaining to others) 
		"Willy Peter," short for "White Phosphorous Incendiary Device," still 
		in its test phase.  It detonates at 6,000 degrees, enough to burn up V.X. 
					(dawning on him) 
		That explains Hummells time frame.  He knows we're not
		operational.  What would it take, General?


					GENERAL PETERSON 
		To equip a flight of F-16s with Willy Peter in 36
		hours?  An act of God. 
					(off Kramer's look) 
		All right, we can try.  But
		view the use of Willy Peter as a secondary initiative.


					GENERAL KRAMER 
		Then on to our primary initiative. (hits intercom button)
		Send in S.E.A.L. Team Leader Anderson. (to F.B.I. Womack) Who's your
		best chemical biological man?



					AGENT WOOD 
					(rises) 
		I'll find out.



					F.B.I. DIRECTOR WOMACK
		Tell him to pack a bag for San Francisco.



EXT.  GOODSPEED'S HOUSE - ROOFTOP - NIGHT Tarpaper and gravel roof. 
Candles burning.  Loretta Lynnls "Stand by Your Man" on the boom box. 
AMONGST THE RUSTY SUPPORT SCAFFOLDS of an old sign from the 120's --



CARLA and GOODSPEED are, to put it delicately, madly passionately
athletically fucking.  Standing up.  They both have robes on.  A
CORDLESS PHONE RINGS.  Again.

					CARLA 
		Don't stop...  do no stop.

						GOODSPEED 
		Shit, shit, shit what time is it. 
					(fumbles for phone) 
		Hello.
					(pause) 
		I'll be downstairs in ten minutes.



GOODSPEED hangs up.  The couple stares at each other. Carla's seen this
look before ...


						GOODSPEED 
		I've got to go to San Francisco.


					CARLA 
		No. I'm sorry, but NO.  I need you here with me.  We need to talk
		about this...


						GOODSPEED 
		I've got to go. She grabs his arm. I can't...  I
		cannot deal with this right now ... (softly) Bill, I am very Catholic. 
		And very pregnant.  And very unmarried.  Help me with this.


She turns away from him.  He pulls her back...


					GOODSPEED 
		I love you.  I will marry you.  I just didn't plan on this,
		that's all.  Tell you what: come to San Francisco.


					CARLA 
		Really? 
					(smiles) 
		Really?


					GOODSPEED 
		It's probably just a training exercise. Check into a hotel,
		order up some champagne, I'll finish up my business and ...


					CARLA
		... We'll finish what we started.  Baby, are you sexy in those
		boots ...


GOODSPEED walks off in COWBOY BOOTS, robe and boxers,..

INT.  PENTAGON - SITUATION ROOM - NIGHT U.S.N. commander CHARLES
ANDERSON, 35, just the hardest looking man you've ever seen, stands
before the group.  Anderson is a Navy S.E.A.L., an Incursion Team
Leader.  Before Anderson are AERIAL RECON PHOTOS of Alcatraz.


					COMMANDER ANDERSON
		 A precision night drop is out due to the full moon. 
		Likewise on a frontal, seaside attack: at the first shot, Hummel might
		launch.  My second in command is working on an attack from within the
		prison. 
					(beat) 
		The idea is to penetrate the tunnels under the prison,
		undetected, emerge in its center, and jump the marines from behind -
		take their rocket positions without a shot fired.  But I need better
		intelligence.


					GENERAL KRAMER 
		You've studied the architectural plans.


					COMMANDER ANDERSON 
		They're useless.  Alcatraz was originally a Civil War
		fort.  It's been ripped up and rebuilt for years.  Under there is a maze
		of shit, excuse my language. 
					(beat) 
		What I need is personal, firsthand
		intelligence on the island's tunnels.


CAMERA FOCUSES ON F.B.I. Director Womack, who gives a very significant
look to C.I.A. Director AMWAY.


					GENERAL KRAMER 
		The former warden?


					AGENT WOOD 
		Died in 1979.  The guards we contacted are useless.  There
		was a janitor, "Alcatraz Al". He worked there for twenty years, but he
		died in 1983.


					GENERAL PETERSON 
		Didn't three guys escape?  I thought I saw a movie about it.


					AGENT WOOD 
		It's a Hollywood myth.  No one's escaped Alcatraz and lived.


F.B.I. Director trades a very significant look with C.I.A. Director
AMWAY.  Amway clears his throat.  He is older, very old school. 
Everyone turns to him.


					C.I.A. DIRECTORY AMWAY 
		There is someone who can help us.


					F.B.I. DIRECTOR WOMACK 
		The C.I.A. Director and I have something to
		discuss in private.

Womack and Amway rise and exit together.  Everyone else sits there,
confused.

INT.  PENTAGON - CORRIDOR - NIGHT Womack and Amway exit into the
corridor.  They huddle tightly against the wall.  Sotto voice:      -


					F.B.I. DIRECTOR WOMACK 
		You're not actually suggesting ...

					C.I.A. DIRECTORY AMWAY 
		The man spent every night for six months making a
		dry-run of his escape.  He knows every inch of that island.  We have to,
		Jim.


					F.B.I. DIRECTOR WOMACK 
		I am very uncomfortable about this.


INT.  WOLFBURG PENITENTIARY - CELL BLOCK - NIGHT A long row of cells. 
CAMERA slowly DOLLIES past cell after cell.  Sullen INMATES stare
blankly at us ...



					F.B.I. DIRECTOR WOMACK 
					(O.S.) 
		I knew, I knew someday, this would come
		back to bite us.



CAMERA moves through a door marked "ISOLATION." At the end of a gloomy
corridor is a CAST-IRON DOOR.



BACK TO THE PENTAGON CORRIDOR

					C.I.A. DIRECTORY AMWAY 
		it won't bite anyone - if handled correctly. 
		When was the last time you saw him?



					F.B.I. DIRECTOR WOMACK 
		when he escaped from San Quentin.



					C.I.A. DIRECTORY AMWAY 
		The man was an S.A.S. trained killer.



BACK TO WOLFBURG - IN THE ISOLATION CELL

TWO FEDERAL MARSHALS open the cell.'s steel locking bar.  They push open
the door.  Dark inside.  A MAN sits on the bed.

					C.I.A. DIRECTORY AMWAY 
		Can we risk letting.him out?

A SHAFT OF LIGHT cuts across the cell floor.

					C.I.A. DIRECTORY AMWAY 
		The question is: can we not?

THE SHAFT OF LIGHT slices the face of JOHN PAUL MASON.  He is British,
at least once was, imprisoned without trial for 33 years on U.S. soil. 
For now, we have no idea why.



EXT.  WASHINGTON D.C. - DULLES AIRPORT HANGAR - MIGHT

Raining.  An F.B.I GULFSTREAM 4 JET sits on the tarmac.

EXT.  F.B.I. GULFSTREAM - NIGHT

F.B.I. Director Womack sits with FRANCIS REYNOLDS, 30, an Assistant U.S.
Attorney from the Justice Dept. GOODSPEED sits across the aisle.


					F.B.I. DIRECTOR WOMACK 
		I'm told you're our best chemical weapons man, Goodspeed.  
		What's your education?


						GOODSPEED 
		B.A. Columbia.  M.A. and P.H.D., Johns Hopkins, biochemistry
		and toxicology.


					F.B.I. DIRECTOR WOMACK 
		Excellent.  What do you know about V.X. gas?

Pause. GOODSPEED stares at Womack.

						GOODSPEED 
		This isn't a training exercise, is it sir.


					F.B.I. DIRECTOR WOMACK 
		No Goodspeed.  It's not a training exercise.


HOLD ON GOODSPEED'S reaction, and CUT TO:

EXT.  SAN FRANCISCO - FEDERAL BUILDING - DAWN

Dawn breaks over San Francisoo.  A BLACK SEDAN and BLACK SUBURBANS pull
up to the F.B.I.'s West Coast office.  Goodspeed, Womack and Reynolds
get out, go inside.



INT.  F.B.I. - OBSERVATION ROOM - MORNING

We watch MASON being led into an INTERROGATION ROOM, his legs in irons,
his hands cuffed behind him.


'We are watching through a TWO-WAY MIRROR, and WIDEN TO: Womack,
Goodspeed, Reynolds and ERNEST SANCHEZ, S.F. Bureau Agent in Charge, are
watching Mason.  Sanchez is a gruff guy with the subtlety of a heart
attack.


					F.B.I. DIRECTOR WOMACK 
		The following is a state secret.  Disclose it to
		any party and you will be subject to prosecution.  His name is John
		Mason.  A British national incarcerated on Alcatraz island in 1962,
		escaped in 1963.


					AGENT SANCHEZ 
		Director, no one's ever escaped from Alcatraz ...


					F.B.I. DIRECTOR WOMACK 
		I'm telling you facts, Agent Sanchez.  Do not
		argue and do not question.  He was recaptured and sent to San Quentin,
		from which he escaped in February, 1976.  He's been held at Wolfburg
		since.  He has no identity.  He does not exist.  Understood? 
					(turns to Sanchez) 
		I want one thing: how he escaped Alcatraz - specifically the
		route he took through the island's tunnels.


					AGENT SANCHEZ 
		You want him conscious or unconscious afterward?


					F.B.I. DIRECTOR WOMACK 
		Don't even entertain it.  This man laughs at
		strong arm tactics. dodium pentathol doesn't work either.


						GOODSPEED 
		Why's he going to help us now?


						U.S. ATTORNEY REYNOLDS 
						(hands Womack PARDON) 
		Mason's papers are in order, sir.


						F.B.I. DIRECTOR WOMACK 
		Because I'm willing to give him what he wants, GOODSPEED - a full pardon.



						AGENT SANCHEZ 
		Steep price for some information. (waves pardon away) I
		don't need that to get what you want.



						F.B.I. DIRECTOR WOMACK 
		Sanchez - try subtlety.

						AGENT SANCHEZ 
		It's my middle name. 
						(to Goodspeed)
		Watch kid, maybe you'll learn something.



Sanchez exits.



						F.B.I. DIRECTOR WOMACK 
						(grumbles)
		I ask for an interrogator and what do I get ...



IN THE INTERROGATION ROOM - MASON looks around.  He focuses on the
mirror.  He stares right through at GoodsDeed. GOODSPEED is fascinated, 
unnerved.



			GOODSPEED 
						(to himself) 
		Jesus look at this guy.



INT.  F.B.I. - INTERROGATION ROOM - MORNING Sanchez walks in, sipping
coffee.  Mason sits there, eyes forward.


						SANCHEZ 
		I'm F.B.I. Special Agent in Charge Sanchez.


Sanches sits.  Mason stares at the table.

						MASON 
		In charge of what?  Fucking me over for another three decades?



						SANCHEZ 
						(congenial) 
		Hey.  Easy.  I just want to talk.



						MASON 
		You know what F.B.I. stands for Sanchez?  Fucking Bloody Idiots. 
		I don't want to talk to you.



A pause.  Sanchez glares at Mason.

						SANCHEZ 
		Just some questions about Alcatraz.  It's a tourist attraction
		now.  You remember Alcatraz, Mason.

The word "Alcatraz" registers with Mason.


						MASON 
		Do I remember Alcatraz.

						SANCHEZ  
		Not the island itself.  The tunnels underneath it.


IN THE OBSERVATION ROOM

						F.B.I. DIRECTOR WOMACK 
		Real subtle, SANCHEZ...


IN THE INTERROGATION ROOM


						SANCHEZ  
		There's no harm in cooperating with us.


						MASON  
		Who's "us?" F.B.I.? C.I.A.? Why should I do that?


						SANCHEZ  
		Maybe there's a gift in it for you.



						MASON  
						(to the mirror) 
		Timeo danaos et dona ferentes.


THE OBSERVATION ROOM

GOODSPEED smiles slightly:

			GOODSPEED 
		"I fear the Greeks even when they bring gifts."



THE INTERROGATION ROOM

						MASON  
		Are you capable of reading, Sanchez?


SANCHEZ is getting flustered.


						SANCHEZ  
		I don't have time for this shit... 
						(pause; stares at mason) 
		Yes. I can read.


						MASON  
		The story of Alchimadus.  Know it?


						SANCHEZ  
		No.

THE OBSERVATION ROOM

			GOODSPEED 
						(to himself) 
		Ancient Greece.  Alchimadus was imprisoned by his
		king.

THE INTERROGATION ROOM

						MASON  
		Thomas a Beckett.  Heard of him?


						SANCHEZ  
		Maybe.  Not really.

THE OBSERVATION ROOM

			GOODSPEED 
						(to himself) 
		Archbishop of Canterbury.  Imprisoned and
		executed by Henry the Second ...



THE INTERROGATION ROOM

						MASON  
		Solzhenitsyn.  I've a sneaking suspicion you've heard of him.



THE OBSERVATION ROOM



			GOODSPEED 
						(to himself)
		 Russian poet and dissident exiled to Siberia.



THE INTERROGATION ROOM

SANCHEZ draws a blank on Solzhenitsyn.

						SANCHEZ  
		Look, I'm asking the fucking questions here. 
						(beat) 
		You can trust the F.B.I.


						MASON  
		That's a good one, Sanchez.  What do you call and F.B.I. Agent who
		can't tell a lie?  A mute.


MASON  turns away.  As if SANCHEZ  
no longer exists. Suddenly, over a
wall-mounted INTERCOM:



						U.S. ATTORNEY REYNOLDS  
						(V.O.) 
		Uhm, Agent Sanchez, could we have a word
		with you?


						SANCHEZ  
		Here, call your lawyer and tell him you're going back to jail.


SANCHEZ tosses a quarter on the desk and exits.


IN THE OBSERVATION ROOM


						F.B.I. DIRECTOR WOMACK 
		Impressive, Sanchez.

			GOODSPEED 
		You mind if...  uhm....  I take a shot?



						SANCHEZ  
		He'll eat him alive.


						F.B.I. DIRECTOR WOMACK 
		He's already had you for the first course. 
					(hands GOODSPEED the pardon)
		Go.


GOODSPEED takes the pardon, goes for the door.

THE INTERROGATION ROOM

GOODSPEED enters.  He's completely out of his element, has no idea what
he's doing, and is-suddenly face-to-face with this.... MASON creature.


The two men regard each other.



			GOODSPEED 
		Take his cuffs off.

The Marshal uncuffs Mason's wrists.  MASON rubs his wrists, staring now
at Goodspeed.


						MASON  
		Who the fuck are you, Mother Theresa?



So much for Goodspeed's confidence.

			GOODSPEED 
		No actually, I'm Bill Goodspeed. 
						(rallys) 
		Mr. Mason, we really need your help.  That's a pardon and release 
		contract from the Attorney Generals office.  It makes you a free man,
		provided you cooperate.


He slides a ballpoint pen across to Mason.  MASON looks at the pen, then
Goodspeed.



						MASON  
		What do you do for the F.B.I., Goodspeed.

			GOODSPEED 
						(lying) 
		I'm a field agent.

						MASON  
		Tell me what you really do.


IN THE OBSERVATION ROOM


						F.B.I. DIRECTOR WOMACK 
		Don't answer that, GOODSPEED ....



IN THE INTERROGATION ROOM

			GOODSPEED 
		I'm a chemical biological weapons expert.



MASON registers this information.... 73 IN THE OBSERVATION ROOM F.B.I.
DIRECTOR WOMACK Stupid, stupid, stupid ....



IN THE INTERROGATION ROOM MASON  
stares at the pardon contract, thinking.

						MASON  
		You said I'd be a free man.  Define free


			GOODSPEED 
		Uhm, well, emancipated.  Unfettered.


						MASON  
		I know what the fucking word means, idiot.  In this context.



			GOODSPEED 
		I don't understand....

						MASON  
		During the time I cooperate, will I be outside?  Outside a jail?

			GOODSPEED 
		Well yes I suppose ...

						MASON  
		You suppose?

			GOODSPEED 
		Yes.  You'll be outside.

IN THE OBSERVATION ROOM

						F.B.I. DIRECTOR WOMACK 
		Don't give away the farm, Goodspeed.



IN THE INTERROGATION ROOM

						MASON  
		What's happening on Alcatraz, Goodspeed?


			GOODSPEED 
		A hostage situation.  A matter of life and death.


MASON thinks.  He picks up the pen.


						MASON  
						(looks at mirror) 
		Then on one condition: a minimum of two hours in
		the Fairmont Hotel - I trust it still exists.  I want a shower and a new
		suit of clothes.



			GOODSPEED 
		I think we can arrange that.


With that MASON picks up the pen and signs the pardon contract.  He
hands it to Goodspeed, who exits.


MASON turns toward the mirror, staring right through.

INT.  F.B.I. ~ OBSERVATION ROOM - DAY SANCHEZ  
and GOODSPEED enter. 

GOODSPEED hands U.S. ATTORNEY REYNOLDS the signed pardon contract.

						
						SANCHEZ  
		Why didn't you throw in a trip to Fiji?


						U.S. ATTORNEY REYNOLDS  
		I'll have this forwarded to the President,
		Director.


						F.B.I. DIRECTOR WOMACK 
		No. You'll give it to me. 
						(pause) 
		Give it to me, Reynolds.


Reynolds reluctantly hands the pardon to Womack.

						F.B.I. DIRECTOR WOMACK 
							(to Sanchez) 
		Show Attorney Reynolds outside there's a car waiting for him.  And SANCHEZ - 
		I'll handle the next stage.


SANCHEZ leads the perturbed Reynolds out. GOODSPEED 
and Womack are alone now.  And WOMACK tears up the pardon

			GOODSPEED 
		Sir, that's a legal document.

						
						F.B.I. DIRECTOR WOMACK 
		I'll decide what's legal, Goodspeed.

Over WOMACK'S SHOULDER, GOODSPEED 
WATCHES AS --

IN THE INTERROGATION ROOM - MASON

places THE QUARTER on the floor.  He raises his metal chair; SLAMS it
down on the quarter.

			GOODSPEED 
Sir, those references to Alchimadus, Beckett, Solzhenitsyn:
all had something in common.

IN THE INTERROGATION ROOM - MASON  
picks up the coin.  It has a DEEP BURR
in it.  He moves to the mirror; begins carving into the glass.


			GOODSPEED 
		They were imprisoned for doing nothing wrong.  What's going
		on, sir?


GOODSPEED watches MASON over Womack's shoulder.


						F.B.I. DIRECTOR WOMACK 
		You're out of your depth, Goodspeed.  You are on
		a need to know basis and you do not need to know.


MASON has etched a circle in the mirror.  He slams his elbow against it.
The glass caves in, CRASHES to the floor.


GOODSPEED and Womack whirl around, startled.  MASON  
leans into the observation room.


						MASON  
		one more thing: a shave and a haircut. 
						(sees Womack) 
		Hello Womack.


MASON and Womack stare at each other and CUT TO:

EXT.  MOJAVE - DESERT FLATS - MORNING A hot desert-vista.  Miles of
nowhere.  A DODGE sits under a tripod.  Suspended from the tripod, a
BLINKING DEVICE.


The device DETONATES, showering the car with WHITE HOT BURNING LIQUID
and amazingly, the car melts into a pool of molten steel, disintegrating
to ash, which blows across the desert.


50 YARDS AWAY - U.S.A.F. LT.  JIMMY FISK and CPT.  LARRY GILER (both
late 20's) emerge from the heat waves in heat-refletive suits, walking
toward A HEAT PROTECTIVE BUNKER (a wall coated with heat reflective
metal.)


BEHIND THE BUNKER U.S.A.F. General Peterson watches with other Air Force
OFFICERS and TECHNICIANS.


Fisk and Giler enter, pulling off their suit hoods.  Their faces are
beet red from the heat.


						CPT.  GILER 
		What it's all about, sir: Willy Peter burns steel, burns
		titanium; it'll sure burn up your poison and everything else in the
		atmosphere.


						GENERAL PETERSON 
		I need four F-16's equipped with air-to-ground missiles
		within... 
					(consults wristwatch) 
		.... twenty-six hours.


						LT. FISK 
		Let me name some things that are more possible, General, with
		all due respect: winning the Lottery, climbing Mt. Everest barefoot,
		getting a parking space at Yankee Stadium, marrying Sharon Stone ...


						CPT.  GILER 
		Can't do it, General.

						GENERAL PETERSON 
		You can.  And you will.


General Peterson walks off.


						CPT.  GILER 
		Get yer minds off Budweiser, baseball, and broads, fellahs -
		we're goin, ,round the clock!

CUT TO:

INT., F.B.I. VAN - BACK COMPARTMENT - DRIVING - MORNING

A van with no windows.  MASON is shackled to a steel loop at one end of
the seating bench.  GOODSPEED sits across from him, a CELLULAR PHONE at
his ear.


THREE F.B.I. AGENTS (CORD, STAR and HUNT) sit down the bench, talking
amongst themselves.


						CARLA 
						(V.O.) 
						(recorded voice message) 
		Hi! Bill and Carla ain't in! 
		State your business!  Make it interesting!



			GOODSPEED 
						(into phone) 
		Listen Carla: I'll explain later, but don't come
		to San Francisco.


CLOSE ON MASON, watching Goodspeed, picking up anything he can from the
conversation.


INT.  GOODSPEED'S APARTMENT - DAY

CARLA stands in the threshold of the apartment, watching the answering
machine --

			GOODSPEED 
						(V.O.) 
						(on the machine)
		I repeat, don't come to San Francisco.



						CARLA
		Like hell I'm not...


She exits, slamming the door.

INT.  F.B.I. VAN - BACK COMPARTMENT - CONTINUOUS , GOODSPEED 
clicks off the phone, thinking, nervous.GOODSPEED 
notices that MASON is staring at him.


						MASON  
						(sotto) 
		Who's Carla?  And why don't you want her to come to San
		Francisco?


GOODSPEED doesn't answer.  He notices the F.B.I. AGENTS staring at Mason
and him. He straightens up.


			GOODSPEED 
		You're on a need to know basis and you don't need to know.

						
						MASON  
		You learn that line in Cub Scouts, Goodspeed?

The van STOPS: the rear doors open to the FAIRMONT HOTEL SERVICE
ENTRANCE.

INT.  FAIRMONT HOTEL - PENTHOUSE SUITE - DAY Top floor suite with a
private elevator.  Grand, with French doors leading to a balcony. 
Director Womack, GOODSPEED 
and F.B.I.Agents Star and Hunt are in the
room.  Jackets off, shoulder holsters on.


						F.B.I. DIRECTOR WOMACK 
		I personally picked this suite. 
						(points at elevator) 
		Only one exit.


IN THE SUITE'S BATHROOM

Steamy, from the shower.  F.B.I. Agent Cord sits on the sink.  MASON'S
VOICE emanates from the shower.  He's singing some ditty off-key.  But
MASON isn't washing.



INSIDE THE SHOWER STALL -- Mason's tampering with the BELL HOUSING of
THE RETRACTABLE CLOTHESLINE on the shower wall.


MASON pops off the bell-housing. he pulls out the nylon clothesline cord
(it's thick, about 10 ft.) and rips it from the bell housing.  Tests its
strength.


Satisfied, he knots A NOOSE on one end of the clothesline cord, then
coils.


IN THE BATHROOM - MASON  
emerges from the shower wearing a huge hotel
bathrobe.


Cord hands him a SUIT OF CLOTHES.  MASON  
inspects them.


						MARSHAL CORD 
		Put 'em on.  You've got forty-five minutes.

						MASON  
		You going to stand there and watch?



						MARSHAL CORD 
		That's right.

						MASON  
		well if it excites-you ...



						MARSHAL CORD 
		Put the goddamn clothes on.



IN THE SUITE'S LIVING ROOM Womack is dumping the contents of a BARBER'S
BAG on the sideboard.

Hands THE HOTEL BARBER, a swishy guy, a COMB, ELECTRIC TRIMMER and BIB. 
The BARBER frowns.


						BARBER 
		I can't do a decent job with these.


						F.B.I. DIRECTOR WOMACK 
		That's all you get.

						BARBER 
		I'm an artist, not a barber.

						F.B.I. DIRECTOR WOMACK 
						(holds up scissors) 
		without these he can't stab you in the throat.

MASON, dressed, emerges from the bathroom.  Motions the barber toward
the balcony.

						MASON  
		Shall we do this outside?  In the sunshine?

The barber gulps.  Follows MASON onto the balcony.

ON THE SUITE'S BALCONY MASON  
sits in the sun on a balcony chair.  Bib
on.

						BARBER 
		How would you like it sir?

						MASON  
		whatever's in style.

						BARBER 
		oh fabulous.  You look shabby.  Shall I snip and cut the
		shabbiness away?

The barber begins trimming Mason's hair...

THE BALCONY - SOME MINUTES LATER Mason's hair and beard are neatly
trimmed.  The barber holds a mirror up; MASON  
examines himself.



						MASON  
		Good.  Thank-you.

The barber stands.  Clears his throat.  Rubs his thumb and forefinger
together.


						MASON  
		Yes of course.  My secretary will take care of you.- 
						(to Agent Star)
		See to the good man will you?

Agent Star, glaring at Mason, leads the Barber out.

						MASON  
		What say we bury the hatchet, Womack.

MASON extends his hand.  Womack looks at it.  As Womack reluctantly
takes Mason's hand, MASON slides the noose over Womack's wrist.  He
yanks it tight and shoulders director womack bodily over the balustrade.

						MASON  
		In your head.

Womack plunges, HOWLING, 9 stories to his death.  No, he only falls 10
feet.  SPROOOOOING he stops, hanging by his wrist off the side of the
building, held there by --

-- MASON  
on the balcony, clutching the other end of the nylon
clothesline, staring at Goodspeed.



			GOODSPEED 
		Jesus...  JESUS CHRIST....


GOODSPEED fumbles for his gun.  Finally unholsters it. DIRECTOR WOMACK,
hanging below, is SCREAMING.



						MASON  
		- Drop the gun or I'll drop your boss.



EXT.  FAIRMONT HOTEL - ACROSS THE STREET - DAY Two F.B.I. AGENTS,
loitering by their vehicle, look up at WOMACK, dangling off the side of
the building.



						F.B.I. AGENT 
		Holy shit, we got a jumper.



F.B.I. AGENT 2 raises binoculars to his eyes.

						F.B.I. AGENT 2
		Looks like....  Womack... !



ENT.  FAIRMONT HOTEL - PENTHOUSE SUITE - DAY MASON  
and GOODSPEED as before.

						MASON  
		Whoops .... I'm feeling tired .... Whoops .... MASON  
		lets Womack drop a foot. Womack SCREAMS! GOODSPEED 
		drops his gun and grabs the clothesline.  MASON  
		bolts from the balcony into the suitels library.

AGENT STAR sprints onto the balcony.  Star and GOODSPEED 
begin hauling Womack up as -- .

MASON steals through the suite, through the vestibule, and into the elevator.


ON THE BALCONY - Agent Star and GOODSPEED 
hoist Directory Womack, red-faced and sputtering, over the railing.  			
GOODSPEED grabs Star's walkie-talkie.


			GOODSPEED 
		All units, this is Caretaker.  WE'VE GOT A SIGNAL SIX. 
		Mason's in the elevator!  Let me know where he stops!



INT.  FAIRMONT HOTEL - BASEMENT - HOTEL KITCHEN - DAY

MASON exits the elevator.  The kitchen is bustling with COOKS AND
BUSBOYS.  MASON moves toward the side exit.  Two F.B.I. AGENTS enter. 
MASON ducks into the dishwashing room.  Waits for the Agents to run
past.



MASON emerges, running right into..... GOODSPEED.

WHAMM.  MASON'S FIST slams into Goodspeed's jaw. GOODSPEED 
goes down on the huge dishwasher.  MASON moves off quickly toward the side exit.



EXT.  FAIRMONT HOTEL - SIDE EXIT - DAY

MASON exits the hotel. 20 feet away is the PARKING VALET. 10 incredibly
fast expensive European cars are waiting to be parked.  First in line,
however, is a HUMVEE.



EXT.  FAIRMONT HOTEL - SIDE EXIT - DAY

			GOODSPEED 
exits, looking at MASON getting into the HUMVEE. The Humvee
explodes out of the hotel driveway.



GOODSPEED shouts to the F.B.I. AGENTS across the street:

			GOODSPEED 
		That's him!

The F.B.I. SEDANS ROAR off after Mason.

GOODSPEED looks around.  A Ferrari sitting there. GOODSPEED 
gets behind the wheel.



THE FERRARI blasts out of the driveway after the Humvee.

EXT.  SAN FRANCISCO - STREETS - DAY The HUMVEE lumbers up to a traffic
light.  Stops behind several vehicles ahead.

INT.  MASON'S CAR - DRIVING - DAY MASON  
looks-up in the rear view mirror.  The F.B.I. SEDANS are behind him, closing fast.  MASON  
rams the stickshift into gear; throws the wheel.


EXT.  SAN FRANCISCO STREET - DAY MASON'S HUMVEE veers to the side and
CLIMBS OVER a parked, day-glow painted VW BEETLE, squashing it's hood. 
The Humvee ROARS through the intersection, leaving --


The F.B.I. SEDANS and GOODSPEED'S FERRARI trapped at the light behind
the other cars.


EXT.  THE STREET AHEAD - DAY MASON'S HUMVEE plows through traffic,
hitting the left and right bumpers of the cars in front of it, knocking
them aside.  It blows through ten cars like ten-pins.


GOODSPEED'S FERRARI slaloms through the Humvee's wake of dented cars and
accelerates after the Humvee.


TWO POLICE PATROLMEN scramble into their cruisers, throwing on the
CHERRY TOP LIGHTS.


The CRUISERS charge after the Humvee and the Ferrari.

EXT.  SAN FRANCISCO STREETS (HILL #1) - DAY THE HUMVEE is accelerating
up a very steep hill.  '100 yards down the hill, the TWO S.F. POLICE
CRUISERS, the F.B.I. sedans, and GOODSPEED'S FERRARI, all race after it.



INT.  MASON'S HUMVEE - DAY

MASON  has the radio on.  A NEWSFLASH is broadcast:


						RADIO NEWSMAN 
		This just in: More than twenty highway patrolmen are
		involved in a highspeed chase on Van Ness Boulevard, north of Trocadero
		...


MASON  looks at Humvee's CELLULAR PHONE.  Grabs it.  Studies it. He's
never used one before.


						MASON  
		Modern conveniences.  Cheers. (punches numbers) San Francisco. 
		Jade Angelou.  That's A..n..g..e..l ....



EXT.  SAN FRANCISCO STREETS (HILL #1) - DAY AT THE INTERSECTION - THE
TRAFFIC LIGHT is red.  A SPARKLETTS WATER TRUCK proceeds into the
intersection.

103 INT.  MASON'S   CAR - DRIVING - DAY

MASON runs the red light.  The Sparkletts truck is in the intersection. 
MASON  violently throws the wheel.  The Humvee swerves to avoid the
Sparkletts truck --


EXT.  SAN FRANCISCO STREETS (TOP OF HILL #1) ~ DAY -- but doesn't make
it.  Mason's Humvee SLAMS into the Sparkletts truck's BACK END, knocking
it sideways.  The HUMVEE blasts through the intersection as --


70 WATER BOTTLES (5 gallon each) tumble off the Sparkletts truck.  The
bottles roll down the hill, gaining speed.



104A INT.  MASON'S HUMVEE ~ DAY the call connects.


						JADE ANGELOU 
						(O.S.) 
		Hello?
		
						MASON
		Is this Jade Angelou?

						JADE ANGELOU
						(O.S.)
		Yes.  Who is this?

						MASON  
		John Mason. 
					(lengthy pause)
		Don't be shocked.  I don't have much
		time.  Please listen carefully  ....

INT.  GOODSPEED'S FERRARI - DAY

			GOODSPEED 
		Where is he sir?  RIGHT IN FRONT OF ME.  What's he doing? 
		HE'S ON THE PHONE.  I DON'T FUCKING KNOW, HIS STOCKBROKER! Oh shit. 
		Gotta go.



GOODSPEED looks at SPARKLETTS BOTTLES bearing down on him

INT.  S.F. POLICE CRUISER - DAY Two S.F. PATROLMEN.  Their eyes widen
too as -- THE SPARKLETTS BOTTLES are bouncing now, roll down on them at
45 m.p.h. A BOTTLE SMASHES through the windshield, showering the
Patrolmen with glass.



EXT.  SAN FPANCISCO STPEETS - (MIDWAY UP HILL #1) - DAY Chaos.  Bottle
after bottle smashes down on the -


front-running vehicles.  DENTING HOODS.  SMASHING WINDSHIELDS.  THREE
F.B.I. SEDANS and GOODSPEED'S FERRARI negotiate the crashing cars.

They race through the carnage after Mason.

EXT.  SAN FRANCISCO STREETS -   . (HILL #2) - DAY

MASON'S HUMVEE explodes over the crest of a hill at 90 m.p.h. and soars.
 A beat, then --

THE F.B.I. SEDANS, followed by GOODSPEED'S FERRARI soar over the crest
of the hill.

EXT.  SAN FRANCISCO STREETS - (BOTTOM OF HILL #2) - DAY At the
intersection here, TWO S.F. ROAD WORKERS are sliding a STEEL PLATE over
a 6 ft. deep ditch cut in the asphalt (for a water main or equivalent).


The Road Workers, hearing the WAIL OF MASON'S HUMVEE, look up and dive
away just at THE HUMVEE blasts over he steel plate, dislodging it from
its positioning.  It TEETERS on the lip of the ditch.


THE F.B.I. SEDAN hits the teetering steel plate, which collapses --
causing the sedan to be swallowed up halfway into the ditch, it's rear
end sticking up in the air.  Seconds pass, then --


THE SECOND F.B.I. SEDAN SLAMS into the frontrunning SEDAN'S..EXPOSED
UNDERCARRIAGE.  Both vehicles are obliterated.


GOODSPEED'S FERRARI, in the most hair-raising slide ever filmed, veers
and misses the mangled F.B.I. sedans.


Now it's just MASON and GOODSPEED and CUT TO:

EXT.  SAN FRANCISCO STREETS - (TOP OF HILL #3) - DAY


MASON'S HUMVEE, with GOODSPEED'S FERRARI close behind, races down a
street on the crest of a hill.

IN THE INTERSECTION AHEAD - A CABLE CAR is turning down the hill. 
Mason's Humvee also turns down the hill, but as the Humvee rounds the
corner --

AN OLD WOMAN starts crossing the street.  MASON  throws the wheel
swerving to avoid her, and --


-- THE HUMVEEIS BUMPER catches the BACK OF THE CABLE CAR, dislodging its
rear steel wheels from the CABLE CAR TPACKS.  With the front wheels
still lodged in the tracks, the cable car becrins to slide sideways.


GOODSPEED'S FERRARI clears the cable car's sliding back end and sprints
after Mason's Humvee.



EXT.  SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAY

the Humvee and Ferrari blast down the hill.  The street is thick with
vehicular traffic.


So THE HUMVEE swerves, leaving the street.

onto the sidewalk.  Where... SNAP SNAP SNAP it knocks down every parking
meter, then hits A LADDER in a cordoned off area.  On the ladder, a
LINEMAN is fixing a MUNICIPAL POWER LINE.  The ladder collapses; THE
LINEMAN falls, flailing through the air.


GOODSPEED slams on the brakes.  The Ferrari spins 180 degrees and
lurches to a stop facing uphill.


INT.  GOODSPEED'S FERRARI - DAY THE AIR BAG'S exploded in Goodspeed's
face. 
						GOODSPEED 
		Shit shit SHIT SHIT ...



EXT.  SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAY

GOODSPEED looks up the hill.  GOODSPEED'S EYES bug.

GOODSPEED'S POV - THE CABLE CAR is still sliding down the hill sideways.


THE SLIDING CABLE CAR, its wheels SPEWING SPARKS down the hill.  The
LAST PASSENGER dives. it's now empty and sliding straight for
Goodspeed's Ferrari ...


INT.  GOODSPEED'S FERRARI - DAY

GOODSPEED grabs the Ferrarils CELLULAR PHONE and tries the door latch. 
The goddamn airbac is all over him.... So GOODSPEED 
shoots the fucking air bag.


EXT.  SAN FRANCISCO STREETS - (BOTTOM OF HILL 33) - DAY

THE TUMBLING CABLE CAR hits the Toyotals rear.  The Toyotals gas tank
EXPLODES, lifting the cable car.


The Ferrarils door flies open. GOODSPEED dives away as --

-- THE CABLE CAR, aflame, cartwheels in mid-air and lands with a WHUMP
on the FERRARI, crushing it like a tin-can.



GOODSPEED, dazed, wheels away from the wreck, shielding his eyes from
the smoke and fire.

A YOUNG KID ON A MOTORCYCLE rolls up.


MOTORCYCLE KID You just fucked up your Ferrari, man.


			GOODSPEED 
		It's not mine.

						MOTORCYCLE KID 
		Way cool. 
						(smiles)

			GOODSPEED 
		Neither is this.


GOODSPEED shoves the kid off the Motorcycle.  Speeds off into traffic. 
The kid stands there dumbstruck.


EXT.  STREETS OF SAN FRANCISCO - DAY

Goodspeed, driving through traffic on the kid,s motorcycle, flips open
the cell phone.  Punches numbers.


INT.  F.B.I. OFFICE - CHEMICAL/BIOLOGICAL DIVISION, FT. DIETRICK,
MARYLAND - DAY


Marvin Isherwood is enjoying another thrilling day. he grabs for the
RINGING PHONE.



						ISHERWOOD 
		Chem weapons.  Isherwood.



			GOODSPEED 
						(V.O.) 
		Marvin, ring up Wolfburg Federal Pen.  The inmate is
		Mason, John.


Isherwood gets on the computer.  Starts tapping.... 

INTER CUT - MARVIN IN THE LAB / GOODSPEED ON MOTORCYCLE 

						ISHERWOOD 
		Wolfburg, got it. Masconi, Magrane, Masters.  No MASON  
		in Wolfburg, Bill, is this arelative of yours... ?


			GOODSPEED 
		NOT NOW Isherwood.  Go to February 1976.  Who was
		transferred to Wolfburg from San Quentin that year?


						ISHERWOOD 
		Two guys.  Joseph Wainwright, and a.... they don't have a
		name, just "inmate 9999?"


			GOODSPEED 
		Hit nine nine nine nine.


						ISHERWOOD 
		This is weird.  They got medical records, place of birth -
		Glasgow? but no name.  Wait a minute, there's a next of kin.  Jade
		Angelou of 32 Stenson Drive, San Francisco.  Bill did you, like, fuck
		something up?  Bill?  Bill?

GOODSPEED ROARS off on the motorcycle and CUT TO:

EXT.  SAN FRANCISCO - 32 STENSON DRIVE - DAY A single family house. 
Across the street --

GOODSPEED watches the house.  The door opens.  JADE ANGELOU exits. 
She's 19, tall, pretty, purposeful.


EXT.  SAN FRANCISCO - PIAZZA DES ARTES - DAY MASON  
stands next to a massive column, writing on a piece of paper: 
"ST.  MICHAEL'S CHURCH, FORT WALTON, KANSAS.  FRONT PEW.  RIGHT LEG.  HOLLOW."


ACROSS THE PARK - JADE ANGELOU enters a city park with a rotunda of
classical design.  A walk-way under massive Corinthian columns.  She
moves through the rotunda.


MASON  sees her.  He steps behind the column as she passes. There is a
moment of indecision.  MASON looks at THE PIECE OF PAPER in his hand.



						MASON  
		Jade.


Jade Angelou stops cold.  Slow-ly turns.  And regards Mason.


ACROSS THE ROTUNDA - GOODSPEED sees MASON  and Jade. he stealthily moves
toward them.



BY THE COLUMN - MASON AND JADE Jade approaches MASON  
tentatively.  He is stunned by her. By her beauty, her bearing, her 
likeness to'him.



						MASON  
		Hello.  Yes.  It's me.



						JADE 
		I uhm...  I'm not quite sure what to say. This is all a bit much
		...


Several POLICE CARS ROAR past, sirens BLARING.  MASON  
pockets the PIECE
OF PAPER.


						MASON  
		Let's uhm...  let's walk a ways.


They walk off next to a TALL HEDGE. GOODSPEED 
follows on the other side of the hedge.  INTERCUT between MASON  
and Jade, and Goodspeed eavesdropping. GOODSPEED 
pulls out his cellular phone, begins punching numbers.


						JADE 
		So  how long have you been out?

						MASON  
		A while.

						JADE 
		A while.  And you didn't call?  You are free now, right?


						MASON  
		I'm here with you, aren't I?

						JADE 
		Why now?  I mean why today.


						MASON  
		I was driving through San Francisco.  I decided it was time.


						JADE 
		Well there's not a lot I know about you other than you escaped from
		San Quentin, had a four day affair with my mother, and I'm the result. 
		You can imagine I'm pretty confused.


						MASON  
		I tried to explain in my letters.
	

						JADE 
		Ahh.  Your letters.  They weren't very easy to follow.


She fishes in her pocket.  Pulls out A LETTER.  WHOLE SECTIONS OF THE
LETTER have been scissored out.  Mason. frowns.


						MASON  
		I see. 
						(grumbles) 
		Bloody prison censors.


						JADE 
		How about explaining now?


In the b.g. we HEAR POLICE SIRENS.  MASON  
looks around.


						MASON  
		Maybe this isn't the best time... 
						(off her look) 
		Jade.  Here sitdown.


MASON and Jade sit on a bench.  MORE SIRENS in the b.9. MASON  
looks off
nervously.


						MASON  
		All will be explained.  You must trust me on this. Someday very soon, 
		after I get a few things settled, I will come back for you.  What I 
		need to know is: do you want me in your life?


						JADE 
		How can I answer that?  I don't know if we can.... after 19 years,
		just start like that.


						MASON  
		We are the same blood.


						JADE 
		But I don't know you.


						MASON 
		where to begin. 
						(sighs) 
		My name is John Paul Mason.  I'm Scottish.
		I attended Dartmouth Naval College.  My favorite color is green.  I
		like books.  I like a good joke.  At one time I shot a pretty fair round
		of golf.  I'm in my 60's and I've been in jail half my life. 
						(Jade looks away) 
		Maybe it's better I go.

She smiles.  Puts her hands on his.

						JADE 
		No. You're doing okay.


Police sirens BLARE.  And the entire park.is suddenly surrounded by
F.B.I. AND POLICE VEHICLES.


						JADE 
		You lied to me.


GOODSPEED approaches.  MASON makes no attempt to move.  Jade turns to
him.


			GOODSPEED 
						(flashes his I.D.) 
		F.B.I. miss.  Your father is working with us.  He's helping us resolve a.... 
						(looks at Mason)
		.... dangerous situation.


						JADE 
		He is?


			GOODSPEED 
		Yes madam.  We've got to go, John.

MASON  extends his hand to Jade.  She takes it.

						MASON  
		Jade - remember what I said.


They hug.  Then MASON walks off with GOODSPEED and --

-- Jade opens her hand, revealing the PIECE OF PAPER upon which Mason
wrote his instructions.


ACROSS THE PARK - F.B.I. AGENTS STAR and CORD run up.

			GOODSPEED 
						(sharply) 
		No cuffs until we get to the cars,


They continue toward the waiting cars.

						MASON  
		You surprise me, Goodspeed.  Now I'm going to surprise myself:
		thank-you, you could have handled that differently.



			GOODSPEED 
						(tight) 
		You almost got me killed.  Twice.



						MASON  
		Hows your jaw?


GOODSPEED wheels on MASON and swings.  SNATCH.  MASON  
catches Goodspeed's fist.  Three inches from his face.

			GOODSPEED 
		It hurts.


SANCHEZ, DIRECTOR WOMACK and the F.B.I. AGENTS approach. Womack's arm is
in a sling; he's in a volcanic rage.


						F.B.I. DIRECTOR WOMACK 
		You cocksucker you dislocated my shoulder and
		cost the city of San Francisco ten million dollars.  You try to escape
		again and Agent Chaney here will break your legs.


AGENT CHANEY, large and mean, comes to Mason's side.

						MASON  
		Pleased to meet you.

INT.  PIER 39 - F.B.I. COMMAND CENTER - DAY Night is falling.  A large
warehouse room with windows looking out to Alcatraz Island.  Looks like
N.A.S.A.

AT A RECTANGULAR TABLE - MASON  
sits at the head of the table 122 in
front of a SCALE MODEL OF ALCATRAZ.  COMMANDER ANDERSON and ten NAVY
S.E.A.L.s look toward Mason.

Anderson is agitated, staring at Mason.


						COMMANDER ANDERSON 
		Okay, one more time: down this second fork
		fifty-seven paces to a septic chamber.  Turn left at the water pump,
		then forty-two paces to the prison showers ...


						MASON  
		No. Forty-two paces to the septic chamber.  Fifty-seven to the
		showers.



						COMMANDER ANDERSON 
						(pointedly) 
		That's not what you said three minutes
		ago.



						MASON  
						(innocently) 
		It's not?


						COMMANDER ANDERSON 
					(dagger stare at Mason)
		Excuse me. 
						(rises)
		Womack.


Womack follows Anderson aside.  They confer heatedly.


						COMMANDER ANDERSON 
		I ask for someone with knowledge of the island's
		tunnels. you give me a fuckin, convict who wants to play "twenty
		questions."


						F.B.I. DIRECTOR WOMACK 
		He knows every inch of those tunnels, Commander.



						COMMANDER ANDERSON 
		Then he's keeping it to himself.  He's fucking with
		me and I don't have the time.



						F.B.I. DIRECTOR WOMACK 
						(pause; he thinks) 
		What if he went with you?



						COMMANDER ANDERSON 
		Out of the question.  He'll endanger the mission -
		he'll endanger my men.  He's a security risk.  Who says he won't bolt as
		soon as we turn our backs on him?

						F.B.I. DIRECTOR WOMACK 
		I'll handle that.  Chaney.

The hulking Chaney escorts MASON over.


						F.B.I. DIRECTOR WOMACK 
		You're not cooperating, John.  Maybe this will
		help.  I'm sure you're curious about what's happening on Alcatraz. 
						(no response) 
		Twelve United States Marines - a terrorist rogue force - have
		seized it.  They've aimed fifteen poison gas rockets at the city. 
		Enough poison gas to kill every man, woman and child in San Francisco.
						(smiles) 
		Yes, John, including your daughter.


						MASON  
	You son-of-fucking-Satan.


						F.B.I. DIRECTOA WOMACK 
		Mr. MASON has a strong incentive to help us,
		Commander Anderson.


MASON boils.  Then springs at Womack.  Chaney grabs Mason, headlocking
him.  So MASON  knees Womack in the balls.  Womack doubles over. 
Recovers, coughing.


						F.B.I. DIRECTOR WOMACK 
		Get him some gear.  He's going to the Rock. 
		Goodspeed!


ACROSS THE ROOM - GOODSPEED 
looks up from a computer screen generating
3-D images of different angles of a V.X. ROCKET.  He walks over to the
table.  Anderson and the other S.E.A.L.s stare at him.


						COMMANDER ANDERSON 
		The goal is to take out the launchers and neutralize
		the V.X.chem rounds, Goodspeed.  Tell us what you know.


			GOODSPEED 
		Well, the thermal imaging photos picked up the poison gas. 
		Here.  The prison morgue. 
						(points)
		It's probably being kept refrigerated. makes sense.  V.X. gas 
		begins to lose its toxicity at higher temperatures.


						COMMANDER ANDERSON 
		Have you ever actually seen one of these devices?

			GOODSPEED 
		No sir, but I've studied them ....



						COMMANDER  ANDERSON 
						(sarcastic) 
		That's great, Goodspeed.  You're in the
		Bureau, so you've had weapons training.


			GOODSPEED 
		A little, sir.


						COMMANDER ANDERSON 
		So you've never been in a combat situation.



			GOODSPEED 
		No sir. 
						(beat) 
		Should I begin the briefing on diffusing and detoxification sir?



						COMMANDER ANDERSON 
		Won't be necessary.


			GOODSPEED 
		Sir, these are very complicated devices...


						COMMANDER ANDERSON 
		I know they are, Goodspeed.  That's why you're going
		with us.


			GOODSPEED 
		Sir?


						COMMANDER ANDERSON 
						(to S.E.A.L. Reigert)
		Get him some gear.

MASON stares at Goodspeed.

						MASON  
		Wait just a minute.  This little twat's going to deal with the
		poison?  He's gonna get us all fuckin' killed!

MASON walks off muttering.

INT.  PIER.39 COMMAND CENTER - BATHROOM - A MINUTE LATER

S.E.A.L. Dando stands at a urinal. GOODSPEED bursts in and lunges for
another urinal.  He vomits.  Gags.  Spits.

						S.E.A.L. DANDO 
		Nice to meet you too. 

SANCHEZ  enters.

						SANCHEZ  
		You look like shit. 
		
GOODSPEED leans back against the wall.

			GOODSPEED 
		Thank you.

						SANCHEZ  
		You're not wimping out on us, Goodspeed.

			GOODSPEED 
		I join the F.B.I. I ask for fieldwork.  They say, "Bill,
		you're too fucking smart for field work." Every year I put in for a
		transfer and every year I sit in that goddamn lab like the fucking
		Maytag repairman in the commercial.  Then the call finally comes, and
		it's a whole fuckin, city at stake?  Oh Jesus...



						SANCHEZ  
		Chemical Weapons isn't a cakewalk, Goodspeed.

GOODSPEED splashes cold water on his face.

			GOODSPEED 
		I've got some bad news and some really bad news sir.  Maybe
		the bad news isn't bad, maybe actually it's good ....



						SANCHEZ  
		Spit it out.

			GOODSPEED 
		My girlfriend's pregnant.



						SANCHEZ  
						(pause) 
		What's the really bad news.


INT.  PIER 39 - OUTSIDE THE BATHROOM - DAY

						SANCHEZ  
						(V.0.) 
		Goodspeed, GODDAMN IT ...

The door bursts open.  Sanchez, veins bulging, exits, followed by
Goodspeed.

						SANCHEZ  
		Agent Cord, get over to the Pan Pacific Hotel and bring
		Goodspeed's girlfriend to this facility please!!

and CUT TO:

EXT.  ALCATRAZ - LOWER LIGHTHOUSE - SUNSET

Cpts.  Darrow and Frye look out . the window at the Marine's Command
Center in the Infirmary.

						CAPTAIN DARROW 
						(mumbling) 
		Seventeen hours left.  What the fuck is he
		doing?  How much time does it take to transfer money from one account
		...



						CAPTAIN FRYE 
		Just a matter of time, buddy.  The Pentagonlll cave and
		we'll be headin, south of the border a million dollars richer.



INT.  ALCATRAZ - INFIRMARY COMMAND CENTER - SUNSET 

Hummel sits at hisdesk.  The phone RINGS.

						HUMMEL 
						(V.O.) 
		Hummel.

						SECURITY ADVISOR LOUIS LINDSTROM 
		Hello Frank, Lou Lindstrom.  I'm in the
		oval office with General Kramer.


INTERCUT - ALCATRAZ INFIRMARY / WHITE HOUSE OVAL OFFICE

						GENERAL KRAMER  
		We're having some problems with the account transfer,
		Frank.


						HUMMEL 
		Don't tell me your problems, tell me your solutions.


						GENERAL KRAMER  
		We've spoken to the President. He's not too happy about
		this.

Chief of Staff Hayden Sinclair enters.

						HUMMEL 
		Well he'd better give me a goddamn assurance ...



						HAYDEN SINCLAIR 
		The only thing the President will give you is a fair
		trial after you're caught, General.


						HUMMEL 
		That you, Sinclair?  What exactly do you do at the White House?
		Answer the presidential phone? Wash the presidential limousine? 
		Are you his golf caddy, Sinclair?


						HAYDEN SINCLAIR 
		Now you give me some coddamn respect, General ....

						HUMMEL 
		You want respect, you child, you coffee server?  Let's talk about
		Dave Ridgeway.


						GENERAL KRAMER  
		Who's Dave Ridgeway, Frank?


						HUMMEL 
		A twenty-two year old marine tortured to death by a communist
		death squad in the El Salvadoran jungle.  His mother and young wife were
		told by the Pentagon that he went A.W.O.L. Let's talk about the respect
		he got.


						LOUIS LINDSTROM  
		This is going nowhere Frank ....


						HUMMEL 
 		Then let me tell you what is: The most lethal poison gas known to
		man into San Franciscols business district.  You have twelve hours to
		deliver the money or be prepared to reap the whirlwind, gentlemen.


CLICK.  National Security Advisor Lindstrom stares at the phone.  Shakes
his head.


						LOUIS LINDSTROM  
		What's the word from Mojave?


						GENERAL KRAMER  
		General Petersen can give us no definite assurance on the
		Willy Peter capability.

The men stare grimly at each other.


						LOUIS LINDSTROM  
		Greenlight the S.E.A.L. incursion.


General Kramer picks up the phone and CUT TO:

EXT.  NAVAL AIRSTRIP (INCURSION STAGING AREA) - DUSK- The INCURSION
STAGING AREA (a base in the S.F. vicinity) GOODSPEED 
and MASON, in black dry suits, join COMMANDER ANDERSON 
and nine other S.E.A.L.s.

Four S.E.A.L.s will be identified: BOYER, REIGERT, DANDO, and SHEPHERD.


						COMMANDER ANDERSON 
		Listen up, men.  Mr. MASON  
		here will run point for us.  Lieutenant Shepherd will be attached to your 
		hip, Mason.  You breath, he breathes with you.  Understand?


LIEUTENANT SHEPHERD, young, laconic, nods at Mason.


						COMMANDER ANDERSON 
		Shep, what's the status on the special operational
		gear for Mason.



						S.E.A.L. SHEPHERD 
						(hands over items) 
		one aluminum fork and one quart of
		motor oil in a squeeze tube.


			GOODSPEED 
		Motor oil?

						MASON  
		For cottonmouth. 

GOODSPEED and the S.E.A.L.s exchange looks.

						COMMANDER ANDERSON 
		GOODSPEED here's our specialist.  We will cover him
		while he neutralizes the' chemical threat.  If he does his job we'll
		launch flares and hold our position 'till the cavalry comes.  Make no
		mistake about it, gentlemen, we are going in against an entrenched force
		led by one hot-shit field commander.  We are in the fight of our lives,
		I bullshit you not.  Any questions?  Let's move out.


The move across the staging area to --

A CH-53 SEA STALLION and two HUEY COBRA ATTACK GUNSHIPS, their BLADES
whipping with ferocity.


S.E.A.L. SHEPHERD stands in the Sea Stallion's door.  The S.E.A.L.s
board past him.  Last are MASON and Goodspeed.



						MASON  
		After you, 'lace."


GOODSPEED gives MASON  a look and climbs in.  Then Mason. Then Shepherd,
who SLAMS the door shut.

THE GROUND CREW waves red LIGHT SABRES: "all clear." The Hueys and the
Sea Stallion lift off.


INT.  SEA STALLION - NIGHT

GOODSPEED and MASON sit with the S.E.A.L.s. Grim, determined faces.  
Not a word spoken.


						COMMANDER ANDERSON 
		Activate mini-cams.


Anderson, Boyer and the other S.E.A.L.s flip on TINY VIDEOCAMERAS
mounted on their shoulders.  A NAVAL MEDIC passes out SYRINGES OF
ATROPINE in ANKLE SHFATHES.


						NAVAL MEDIC  
		Atropine.  Any contact with the gas, use it.


Each S.E.A.L. takes one; begins strapping it to ankle. GOODSPEED 
shakes his head, declining.


			GOODSPEED 
		Uhn uhn.  I hate needles.



INT.  PIER 39 - MOBILE COMMUNICATIONS TRAILER - NIGHT

AT THE CONTROL PANEL - F.B.I. TECHNICIANS talk into headsets and watch a
bank of MONITORS displaying: satellite pictures, thermographic images of
Alcatraz, a computer bio of Hummel.


SANCHEZ sits at the control panel wearing a headset. Director Womack
paces behind him.



						SANCHEZ  
		Mini-cams operational.



OUTSIDE IN THE WAREHOUSE

An F.B.I. SEDAN pulls in and parks.  F.B.I. AGENT CORD gets out. carla
sits in the back seat.



						CARLA 
		Would you please tell me what is going on?



						AGENT CORD 
		Can't do that, malam.  Sorry.



EXT.  SKIES OVER SAN FRANCISCO BAY - NIGHT

The Hueys and Sea Stallion fly in formation AT CAMERA.  The Sea
Stallion's running lights suddenly BLINK OFF.



INT.  SF.A STALLION - NIGHT 

The two SEA STALLION PILOTS don NIGHT VISION GOGGLES.

IN THE HOLD - THE S.E.A.L.s begin to prepare themselves; checking their
weapons combat wet-suits, and CLOSED CIRCUIT REBREATHER SCUBA TANKS.

The S.E.A.L.s begin to don their scuba apparatus.


						COMMANDER ANDERSON 
		You know what you're doing?


						MASON  
		Yes.  Little fancier than I'm used to.


MASON examines the equipment.  It's more modern, but not foreign to him.
 He adjusts his depth and oxygen gauges.  Goodspeed, having a hard time,
watches Mason.



EXT.  SKIES OVER SAN FRANCISCO BAY - NIGHT

THE HUEYS, 50 ft. from the water's surface, SCREAM PAST CAMERA and bear
down on Alcatraz.


THE SEA STALLION, lagging behind the Hueys, BANKS RIGHT and peels away. 
It descends lower, below radar.


INT.  PIER 39 COMMAND CENTER - NIGHT

The F.B.I. RADAR TECHNICIAN watches the RADAR SCREEN. ..Glowing BLIPS
move toward Alcatraz.  One BLIP vanishes.



F.B.I. RADAR TECHNICIAN 
They're off radar, headin' 'round Treasure
Island.



EXT.  SKIES OVER TREASURE ISLAND - NIGHT

The Sea Stallion rounds Treasure Island and heads toward the rear of
Alcatraz Island.



INT.  SEA STALLION - NIGHT

The SEA STALLION PILOT turns to ANDERSON.

SEA STALLION PILOT I got you to the strongest current in the Bay,
Commander.  You're on your own from here.


						COMMANDER ANDERSON 
		Prepare to deplore!


CUT TO: A SERIES OF SHOTS.

The S.E.A.L.s stand.  Each checks the gear of the man in front of him. 
Straps tightened.  Weapons checked. -

IN THE REAR OF THE HOLD-- FOUR S.E.A.L.s ready two high-tech 139B 3-man
submersibles called 'IS.D.U.sll (Seal Delivery Units), also known as
"Seal Subs."


MASON is ready to go, calm and steady, eyes forward. GOODSPEED'S still
behind.  He has his scuba tanks shouldered, but he can't get the 
lst of the tricky cATcHEs on the shoulder harness secured ...

MASON reaches over and secures, with a METALLIC DLINK, the catch. 
Goodspeed, embarrassed, nods.


AT THE BACK OF THE HOLD

139F SHEPHERD, with a nod, directs MASON  
to sit down on the S.D.U.
behind S.E.A.L. BOYER, the S.D.U.ls driver.


MASON does so.  Chaney then sits behind Mason.  S.E.A.L. Dando then
begins buckling Shepherd and MASON  
onto the sled with harnesses (the unit's version of a seat-belt.)


EXT.  SAN FRANCISCO BAY (OFF ALCATRAZ) - NIGHT

The Sea Stallion hovers 15 ft. from the surface.  The BELLY DOOR opens. 
COMMANDER ANDERSON leans out, inspecting the drop area. he hand-signals
to --



-- S.E.A.L. DANDO, reading the two S.D.U.s. GOODSPEED 
sits on the SECOND S.D.U. behind S.E.A.L. REIGERT.  S.E.A.L. Dando begins 
buckling in Goodspeed.



			GOODSPEED 
		Wait a minute.
						(Dando stops buckling) 
		What if this thing crashes ...


Dando looks at Reigert.  They laugh.  This remark they
obviously find very funny.  Dando continues buckling GOODSPEED 
in.


						MASON  
		Smile Goodspeed.  Live a little.  Life is short...  especially
		yours.


And the S.D.U.ls are released, rolling out of the Sea Stallion on a set
of tracks, SPLASHING DOWN into --



EXT.  UNDERWATER - NIGHT 
-- the bay here.  The S.D.U.s' XENON headlamps
come on.

EXT.  THE SEA STALLION - DOORWAY - NIGHT 
The rest of the S.E.A.L.s,
carrying equipment and single man mini-S.D.U. units, jump from the Sea
Stallion one by one.



EXT.  UNDERWATER - NIGHT 
The three-man and single S.D.U.s head toward
Alcatraz, passing ABOVE CAMERA.

EXT.  ALCATRAZ - LOWER LIGHTHOUSE - NIGHT 
THE SEARCHLIGHT atop the lower
lighthouse scans the bay, back and forth.  It fixes on something.


INT.  ALCATRAZ - LOWER LIGHTHOUSE - NIGHT 
Hummel and Baxter watch from
the window.  Captain Fryels voice emanates from the walkie-talkie.


						CAPTAIN FRYE 
						(V.O.) 
		Something on radar, sir.  Two Hueys in standard
		formation, due east and approaching.


Hummel raises binoculars.  Scans the bay.

HUMMEL'S POV - THROUGH BINOCULARS - THE HUEYS AND SEA STALLION, flying
low, SCREAM toward the island.


BACK TO SCENE - HUMMEL lowers the binoculars, clicks on his
walkie-talkie.


						BAXTER 
		Decoy?


						HUMMEL 
		Royce, Scarpetti, Gamble, Starling: get to the west end of the
		island on the double.  Think we have visitors.


EXT.  ALCATRAZ - WATER TOWER - ALLEY - NIGHT

Pvt.  Royce clicks off his walkie-talkie.

						ROYCE  
		You heard the man, let's move it.

Pvts.  Royce, Scarpetti, Gamble and.Starling race off.

EXT.  UNDERWATER - NIGHT The S.E.A.L.s, pulled by their S.D.U.s, WHOOSH
past camera. The S.D.U.s lights dim the FLUORESCENT GREEN.


CLOSE-UP on BOYER, the three-man S.D.U.ls driver, intense, determined.
CLOSE-UP on Boyer's fluorescent green INSTRUMENT PANEL charting their
approach to the island.


They've drawn close to the island.  ' COMMANDER ANDERS6N swings an
UNDERWATER SPOTLIGHT, which reveals --


A LARGE WATER INTAKE PIPE jutting out from the Island's bedrock, 7 ft.
in diameter, covered by a GRATE thick with rust, barnacles and seaweed. 
There's a SMALL JAGGED HOLE, presumably through which MASON  
escaped 33
years earlier.



EXT.  UNDERWATER - POWER P     . INTAKE PIPE - NIGHT The S.E.A.L.s cast
off the S.D.U.s and direct their GREEN FLUORESCENT SPOTLIGHTS inside the
hole in the grate.



MASON  stares at the hole.  COMMANDER ANDERSON 
nods to Mason: "lead the way." MASON  does so.  Enters the pipe. one by one, 
the S.E.A.L.s and GOODSPEED follow MASON in.



EXT.  ALCATRAZ - SHORELINE NEAR POWER PLANT - NIGHT

Pvts.  Royce, Scarpetti, Gamble and Starling walk the shoreline, peering
into the black water.



						ROYCE  
		Looks all clear, sir.

INT.  ALCATRAZ - INFIRMARY COMMAND CENTER - NIGHT 

Baxter turns to Hummel:


						BAXTER 
		Nothing.


						HUMMEL 
		Tell 'em to stay out there.

INT.  ALCATRAZ - SUBTERRANEAN POWER PLANT - NIGHT

A large subterranean room under the island's . power plant. .	large
WOODEN CISTERN in the middle.



The S.E.A.L.s emerge in the cistern and climb out.  The room . has one
exit, sealed with a HEAVY IRON door.



						COMMANDER ANDERSON 
		Thank-you very fucking much, Mr. Mason, you've led us
		to a room with no exit.



						S.E.A.L. BOYER 
		Skipper, blow it or burn it?



						COMMANDER ANDERSON 
		No time for the torch.  Explosives'll bring the
		fucking world down on us. (turns to Mason) An idea, please, we're tight
		on time.



						MASON  
		Wait for me to unlock the door.

						COMMANDER ANDERSON 
		You do not look like Jesus Christ, Mr. Mason, so I'm
		having a hard time how you're going to accomplish that.


						MASON  
						(points)
		Under there.


UNDERNEATH THE STEAM ENGINE is a tiny crawl space. 10 STEAM RELEASE
VALVES periodically emit BURSTS OF STEAM.


						COMMANDER ANDERSON 
		You are shitting me.  You catch one of those steam
		bursts and you're a corpse.



						MASON  
		True. 
				(unshoulders his equipment)
		I memorized their timing.


MASON sits on the edge of the crawl space.  F.B.I. looks inside the
crawl space: WHITE HOT BURSTS of 500 degree Fahrenheit steam BLAST DOWN.



						S.E.A.L. SHEPHERD 
		Uhh sir, you said never leave his side ...



						COMMANDER ANDERSON 
		You're not required to follow, Lieutenant Shepherd. 
		This man is going to die.


						MASON  
				(grumbles to himself) 
		That's been said to me before ....


MASON takes a deep breath and he rolls --

INTO THE CRAWL SPACE - MASON  
logrolls one revolution...  STEAM

BURST another evolution STEAM BURST another revolution STEAM BURST


MASON  rolls to a stop on his side.  STEAM BURSTS on either side of him. 
MASON collects himself.  Breathes deeply and rolls again.  His movements
are precise, from memory.  He rolls past.each burst, any imprecision
certain death ...



IN THE CISTERN ROOM - GOODSPEED, ANDERSON AND THE S.E.A.L.s watch Mason,
amazed.


						S.E.A.L. REIGERT 
		Who the fuck is this guy?  Houdini?


IN THE CRAWL SPACE - MASON  
rolls past the STEAM RELEME VALVE and
disappears.

IN THE CISTERN ROOM - Several seconds pass.  We HEAR THE DOOR being
unbolted.  It CREAKS open.  There stands Mason.


						MASON  
		Welcome to the Rock.

The Incursion Team files through the door and CUT TO:

INT.  TUNNELS UNDER ALCATRAZ - NIGHT Here, the tunnel moves up a steep
incline to a LOCKED STEEL BULKHEAD.  S.E.A.L.s REIGERT and DANDO check
it out.



						S.E.A.L. DANDO 
		She's at least three inches thick sir.



						COMMANDER ANDERSON 
		Shit.  Burn it.

Dando unpacks an ACETYLENE TORCH.  Reigert turns on the ACETYLENE VALVES
(tanks rigged to Dandols gear) and sparks the torch.  IT FLAMES UP,
white hot.


Dando starts toward the bulkhead.  MASON steps past him, bending his
KITCHEN FORK into an awkward shape.  He fishes the fork in the lock;
twists it, and...... POP.


MASON  throws open the thick bulkhead door.  And climbs through the
bulkhead.


						MASON  
						(muttering) 
		Guys are worthless.

						COMMANDER ANDERSON 
		Who is this guy... ?

INT.  DRAINAGE PIPES LTNDER MAIN CELL HOUSE - NIGHT The team arrives at
a series of concrete drainage pipes. MASON  
points up to one of them.



						COMMANDER ANDERSON 
		The shower room? 
						(MASON nods yes) 
		After you.



MASON and the S.E.A.L.s climb into the drainage pipe.

INT.  DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT The S.E.A.L. team, Mason
leading the way, climbs toward a FAINT LIGHT emanating from a DRAINAGE
GRATE above.


S.E.A.L. REIGERT readies a FIBRE OPTIC SEEING DEVICE; he pushes the
fibre-optic camera up through the grate.


INT.  ALCATRAZ - PRISON SHOWER ROOM - NIGHT

The FIBER-OPTIC CAMERA turns, looking in a 360 degree radius, and
transmitting images of --


THE PRISON SHOWER - a tiled room with shower heads and a 20 160A ft.
ceiling.  Above, a mezzanine circles the showers; here Alcatraz's guards
once watched inmates below..


INT.  DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT

Commander Anderson views the shower room images on a TINY (2 inch by 2
inch) WRIST-HELD VIDEO MONITOR.  The shower is deserted, but there's
something of interest ~-

A MOTION DETECTOR (a blue beam flashed from a transmitter to 161A a
receptor) across the grate.



						COMMANDER ANDERSON 
		Motion sensor.

Anderson gingerly lifts the grate.  Reigert wiggles his hands past the
edges of the grate and nudges the beam transmitter (with one hand) and
the beam receiver (with the other) away from the grate.



INT.  INFIRMARY COMMAND CENTER - NIGHT

A SILENT ALARM next to Pvt.  Royce blinks on.  Royce turns to Maj. 
Baxter.



						ROYCE  
		Sir.  Anti-disturbance temblar tripped in the shower.  We got
		visitors.



INT.  MAIN CELL HOUSE - SHOWER ROOM

The grate pops open.  S.E.A.IL.s BOYER and REIGERT, wearing NIOHT VISION
GLASSES, emerge taking defensive positions back-to-back.  Commander
Anderson follows.  Then, one by one, the rest of the S.E.A.L.s emerge.



						COMMANDER ANDERSON 
			(to Lt.  Shepherd in the drainage pipe) 
		Stand fast. We'll secure the area.



ANDERSON directs Boyer and Reigert to a TILED COLUMN.  They creep across
the tiled floor, taking "check and defefid" positions behind the
shower's TILED COLUMNS.  But suddenly, shockingly.....FLOODLIGHTS flash
on.  Coming from the mezzanine above.


The S.E.A.L.s whip off their night vision goggles.

165 INT.  PIER 3-9 - MOBILE COMMAND TRAILER - NIGHT


ON THE VIDEO MONITOR - We see the illumination of the shower room
(transmitted from the S.E.A.L.s cameras.)


						SANCHEZ  
		What's that...what the hell is that?


INT.  ALCATRAZ - DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT Goodspeed,
Mason, and Lt.  Shepherd react to the sudden illumination above. 
			
			GOODSPEED 
			(whispers:)
		What's going on?

						S.E.A.L. SHEPHERD 
						   (whispers) 
		Don't know.

INT.  SHOWER ROOM - NIGHT

The S.E.A.L.s whirl around, startled, unnerved, squinting into the
blinding whiteness of the floodlights.



						HUMMEL 
						 (V.O.) 
		Drop your weapons.


The S.E.A.L.s, terrified, hesitate but do not drop their weapons They
stand back-to-back, weapons trained at the catwalk. squinting into the
white light.


The S.E.A.L.s behind the tiled columns take cover. we cannot yet see
Hummel and the marines.  This plays with as much tension as possible. 
The situation is chilling:


COMMANDER ANDERSON 
Anderson here, General Hummel. Commander.  Team
Leader.


						HUMMEL 
						(V.O.) 
		Commander Anderson, if you have any concern for the lives
		of your men, you will order them to safety their weapons and place them
		on the deck at their feet-



INT.  PIER 39 COMMAND CENTER - NIGHT

ON THE VIDEO MONITOR - We see the floodlights above on the Mezzanine and
hear Hummells voice:

						SANCHEZ  
		Oh Christ this isn't happening.

INT.  ALCATRAZ - SHOWER ROOM MEZZANINE- NIGHT

HUMMEL looks down at the S.E.A.L.s. Baxter's text to him.  The other
marines are at positions around the mezzanine perimeter, M-16's trained
and ready.

						COMMANDER ANDERSON 
		Sir, we know why you're out here.  God knows I agree
		with you sir, but like you sir, I swore to defend this country against
		all enemies.  Foreign, sir, and domestic. (shouts now) General, we've
		spilled the same blood in the same mud.  You know goddamn well that I
		cannot give that order...



BEHIND A COLUMN - S.E.A.L.s REIGERT and BOYER stare into the
floodlights.



						HUMMEL 
		Your unit is covered from an elevated position, Commander.  I'm
		not going to ask again.


ON THE MEZZANINE

CPTS.  FRYE, DARROW and PVTS.  COX, MCCOY, have their weapons trained;
they're pumped and trigger happy.


						HUMMEL 
		Don't do anything stupid, Commander. No one has to die here.


						COMMANDER ANDERSON 
		You men following the General: You are United States
		Marines and under oath you forgotten that?  We all have shipmates we
		remember - some of 'em were shit on and spit on by the Pentagon - that
		doesn't give you the right to mutiny.



						HUMMEL 
		That's a nice speech, Commander.  I heard plenty like it in the
		Pentagon and on Capitol Hill.  They all added up to zero.  Pretty words
		aren't gonna get you out of this, Commander.  Now abort this mission. 
		Goddamn it, abort.


BEHIND THE COLUMN - S.E.A.L. BOYER, just 20, having never seen combat,
is trembling with fear, indecision.


						S.E.A.L. BOYER 
		It's us or them, Reigert, fuck they're gonna waste us ...

						S.E.A.L. REIGERT 
		Get a grip on yourself ....

ON THE MEZZANINE - PVT.  COXIS BOOT nudges a TILE which has come loose
from its mortar.  The tile inches to the edge of the mezzanine.  Then it
falls ......


BOYER, reacting to THE FALLING TILE, brings up his machine gun and fires
A SUSTAINED BURST in its direction --


And all hell breaks loose.  THE MARINES fire in unison.  A cruel
withering fusillade.


--- THE S.E.A.L.s in the middle of the floor take the brunt of it. They
gamely return fire.  But they're hit.  Again.  Again.  Again.


IN THE DRAINAGE HOLE - Goodspeed, Mason, and Lt.  Shepherd listen (and
watch, when the view allows) in utter horror to the firefight above.


Lt. Shepherd scrambles up the ladder. GOODSPEED 
grabs him. Tries to pull him down.


			GOODSPEED 
		Don' t do it.


						S.E.A.L. SHEPHERD 
		Let go of me.


Lt.  Shepherd climbs the ladder.

IN THE SHOWER ROOM - ANDERSON takes a bullet in his leg.  His automatic
blazing, he takes a bullet in the forearm.  The chest.  The shoulder.

-- THREE MARINES on the mezzanine are hit and killed.

-- LT.  SHEPHERD climbs out of the drainage pipe and comes up firing. 
He instantly takes a bullet through the visor, killing him instantly. 
SHEPHERD falls to his knees and pitches over, falling face first into --



THE DRAINAGE HOLE, where SHEPHERD'S lifeless eyes come face-to-face with
Goodspeed, who nearly passes out, then looks away in horror.



S.E.A.L.S BEHIND THE COLUMNS return fire.  They're hit, picked off.one
by one.



-- MARINE COX AND MCCOY fire a 50 CAL.  GUN (as powerful as
anti-aircraft or anti-tank round) through the column, killing REIGERT
and BOYER.



						HUMMEL 
		HOLD YOUR FIRE HOLD YOUR FIRE ....

INT.  DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT

Suddenly the-firing stops. GOODSPEED 
and MASON  freeze.  Thinking fast,
MASON  rips the TAC RADIO from Shepherd's helmet, takes his 9 MM PISTOL
and MACHINE GUN, and his SAW-TOOTHED KNIFE AND SHEATH, and climbs down.


Goodspeed, indecisive at first, clambers down after Mason.

INT.  PIER 39 - MOBILE COMMAND TRAILER - NIGHT ON THE VIDEO MONITOR - An
image transmitted from Anderson's helmet camera.  Anderson has fallen,
so this is at ground level.  We see corpses and near corpses.



						SANCHEZ  
		It's over.


						F.B.I. TECHNICIAN 
		We've still got movement.  Numbers eleven and twelve. 
		That's GOODSPEED and.... Mason.


						F.B.I. DIRECTOR WOMACK 
		If mason's still alive, it's not over.


INT.  ALCATRAZ - TUNNELS UNDER SHOWER ROOM - NIGHT

MASON and GOODSPEED exit the drainage pipe. GOODSPEED is panting, nearly hysterical.

			GOODSPEED 
		We're never gettin off this island.

INT.  PIER 39 - WAREHOUSE - NIGHT

CARLA peers through a crowd of F.B.I. TECHS huddled around video and
audio monitors.  She freezes, her hands covering to her mouth at the
sound of:



			GOODSPEED 
						(over tac radio) 
		.... god Jesus we're gonna die


Sanchez, agitated, exits the Command Trailer with Director Womack.  They
huddle, speaking in hushed voices.



			SANCHEZ  
		You told me I am on a "need to know" basis.  Well goddamn it, I
		need to know.  Who the fuck is John Mason.  Start talking, Director, or
		I swear I will go to the press.


A tense pause.  Then Womack sighs, and his voice travels back three
decades ...


			F.B.I. DIRECTOR WOMACK 
		1962.  J. Edgar Hoover is head of the F.B.I.,
		some say the country.  It's no secret the esteemed Mr. Hoover kept
		microfilm files on prominent Americans and Europeans. de Gaulle, British
		members of Parliament, even the Prime Minister.  The man had dirt on
		everyone in the world,

A174 INT.  ALCATRAZ - TUNNELS UNDER THE SHOWERS - NIGHT

Goodspeed, slumped in a corner, watches MASON  
arm himself.


He is a different person.  Alive.  Now in his element. pops the clip on
Shepherd's g mil gun.  Inspects it.  Unsheathes the saw-toothed knife. 
Sheathes it.


174 INTERCUT - PIER 39 COMMAND CENTER / ALCATRAZ TUNNELS

			F.B.I. DIRECTOR WOMACK 
		The British sent over their best operative, John
		Mason, to steal it.
	

MASON grabs Shepherd's machine gun, pops the clip.


			F.B.I. DIRECTOR WOMACK 
		Our agents caught MASON  
		at the Canadian border but with no microfilm.  It's never been found. 
		So Hoover held him without trial.  The British claimed they didn't know him.


			SANCHEZ  
		What about the daughter? why didn't Hoover use her as leverage?


			F.B.I. DIRECTOR WOMACK 
		He died in 1972.  She wasn't born yet Today it's
		a different Bureau and no one wants to touch this.


			SANCHEZ  
		My god, you're not saying ...


MASON  slides the clip back in the machine gun.  Tests the action.
obviously comfortable with firearms ...



			F.B.I. DIRECTOR WOMACK 
		John MASON  
		has been incarcerated without trial on
		American soil since 1962. He knows our most intimate secrets of
		the last half century.  The alien landing at Roswell, the truth about
		the J.F.K. assassination.



INT.  ALCATRAZ - TUNNELS BELOW SHOWER ROOM - NIGHT

			F.B.I. DIRECTOR WOMACK 
			(O.S.) 
		John MASON was an S.A.S. trained killer,
		one of MI-6's best operatives ever - John MASON  
		was one of the most dangerous men on earth.


MASON, armed and dangerous for the first time in 33 long years, faces
Goodspeed.  Brings his machine gun up. GOODSPEED 
raises his -9 mil pistol in self-defense.



			GOODSPEED 
		Don't shoot me. MASON was actually slinging it over his shoulder...

			MASON  
		For christ's sake. MASON trudges down the tu=el.  Goodspeed
		follows him.

			GOODSPEED 
		Wait.  Where're you going?


			MASON  
		Off this island.  You mind?

			GOODSPEED 
		Yes I mind.  I mind very much.
	


From the tac radio in Mason's hand:

			SANCHEZ  
			(O.S.) 
			(over tac radio) 
		Goodspeed, Goodspeed, come in.



			MASON  
		You've got a phone call.


MASON  throws the tac radio at Goodspeed's feet and trudges off. GOODSPEED 
grabs the tac radio.



			GOODSPEED 
		It's me sir.

			SANCHEZ  
			(O.S.) 
		What is happening?  Where's Mason?



			GOODSPEED 
		He says he's leaving the island sir.

			SANCHEZ  
		Don't let him do that.


			GOODSPEED 
		He's got a gun, sir.

			SANCHEZ  
		What do you have, a FUCKING WATER PISTOL?  Get him back!


GOODSPEED hurries off after Mason.

INT.  ALCATRAZ - SHOWER ROOM - NIGHT

Commander Anderson and the S.E.A.L.s lie dead, their blood running over
the tiles into the drainage grate.  Hummel, Baxter walk amongst the
corpses.



			HUMMEL 
		I never wanted this.  Jesus christ.


			BAXTER 
		We knew it might happen, Frank.


			CAPTAIN DARROW
		Maybe now they'll pay up.



			CAPTAIN HENDRIX
		Maybe now they won't.


			CAPTAIN DARROW
		Then maybe we'll execute a few hostages.


One S.E.A.L. DANDO, is still alive.  He's gurgling blood. Staring up at
Hummel.


			S.E.A.L. DANDO 
		You'll go to hell for this General.


			CAPTAIN DARROW
			(to Pvt.  Royce) 
		Put a bullet in him.


Pvt.  Royce, appalled, can't bring himself to do it.

			CAPTAIN FRYE 
		You heard him.  End it.


Cpt.  Darrow pulls his sidearm and levels it.


			HUMMEL 
		CAPTAIN, HOLSTER THAT SIDEARM.


			CAPTAIN DARROW
							(lowers sidearm) 
		Yes sir.


Royce kneels.  Feels Dandols carotid artery.

			ROYCE  
		He's dead anyway sir. 

Hummel leans down.  Stares into Dando's video feed.

INT.  PIER 39 - NIGHT womack and SANCHEZ  
stare at HUMMEL on the monitor.

			HUMMEL 
			(V.O.) 
			(over monitor) 
		You have a made a terrible mistake and more
		of our brothers have died in vain.  Let's not repeat this.



The transmission goes dead.

INT.  ALCATRAZ - SHOWER ROOM - NIGHT

Suddenly, SGT. drainage pipe,


CRISP bent over SHEPHERD'S CORPSE in.the shouts to Hummel:



			SGT.  CRISP 
		General!  This man's weapons and tac radio are missing!



			HUMMEL 
		Rodent problem, people.  Let's flush the pipes.

Pvts.  Cox and McCoy go to the drainage pipe.

EXT.  ALCATRAZ - MAIN CELL HOUSE - NIGHT 
Hummel and his men exit the
Main Cell House and fan out in teams across the island.


SGTS.  CRISP and CPT.  HENDRIX move toward the power plant (above the
tunnel traveled by MASON and Goodspeed.)



INT.  TUNNELS UNDER ALCATRAZ - NIGHT 
Goodspeed's still trailing after
Mason.

			GOODSPEED 
		would you stop.  Just stop. 
			(MASON  stops) 
		I don't know whatyou did or why you were sent to jail, but there are a million
		people across that bay who might die... 
			(MASON continues) 
		Fuck this. Stop.  Freeze.



MASON turns. GOODSPEED 
has his g gun trained on him.  He's not the most
convincing gun handler.

EXT.  ALCATRAZ - IN FRONT OF POWER PLANT - NIGHT

Sgt.  Crisp and Capt.  Hendrix, walking toward the power plant, hear
something.  Beneath them, through a VENTILATION GRATE.  VOICES.


			CAPTAIN HENDRIX 
							(whispers in tac mike) 
		Rodents located.


Hendrix and Crisp begin preparing a SATCHEL EXPLOSIVE.

INT.  TUNNELS UNDER ALCATRAZ - NIGHT 

MASON  and GOODSPEED as before. 
MASON  advances.

			GOODSPEED 
		F.B.I. 	Stop right there.  I really mean it.



			MASON  
			(stops) 
		If you really mean it, take the safety off.


GOODSPEED fiddles with the safety catch.  With a swipe, MASON  
snatches the gun.  They glare at each other.


			SANCHEZ  
			(V.O.) 
			(over tac radio) 
		Goodspeed.  Goodspeed, come in.  Have you resolved this?


			GOODSPEED 
		Now he has all the guns, sir. . 
			(clicks off the tac radio)
		You've got to help me.  What do you want me to do, beg?


			MASON  
		Save your breath and your dignity, if you have any.  I am leaving.
		I am getting my daughter and getting the hell out of here.


MASON walks off.  Suddenly stops.  THE SATCHEL EXPLOSIVE has fallen at
his feet.  MASON turns, looks at Goodspeed.  And they sprint back, the
way they came.

IN THE TUNNEL BEHIND THEM - A MONSTROUS EXPLOSION blows in the tunnel
and knocks MASON  and GOODSPEED to their feet.



INT.  ALCATRAZ - SHOWER ROOM - NIGHT

PVTS.  COX AND MCCOY attach a bundle of C-4 to A TANK OF GASOLINE and
toss it down the drainage pipe.


INT.  TUNNELS UNDER ALCATRAZ

The gas bomb detonates, blowin'g a wall of flame through the tunnel. 
The fire is looking for an escape, hunting and burning everything in its
path.


DOWN THE TUNNEL - MASON  AND GOODSPEED 
see the wall of flame ROARING
toward them.  MASON  
grabs Goodspeed.



			MASON  
		Hold your breath.


They dive into a pool of stagnant water, submersing as the WALL OF FLAME
blows through the tunnel over their heads.


Mason, then Goodspeed, drags himself out of the water.


			MASON  
		Come on.  And keep your mouth shut.

MASON  hurries off, GOODSPEED on his tail.



EXT.  ALCATRAZ - SUBTERRANEAN CIVIL WAR RUINS - NIGHT

The tunnel leads here, to the Civil war era dungeon.  The tunnel's
bricked up; brick and mortar circa 1855.



CIVIL WAR RUINS - NIGHT


			GOODSPEED 
		Now what?

MASON moves to the bricked-up wall.  Feels around the mortar.  Smiles. 
Removes a brick. another.  Another.  A WHOLE CLUMP of bricks falls,
revealing A HOLE.



			MASON  
		Came out right through there. (squeezes through the hole; mutters)
		'Course I've gained a few since ...



GOODSPEED follows MASON through the hole.

INT.  CIVIL WAR DUNGEON - OTHER SIDE OF THE WALL - NIGHT 

MASON  and GOODSPEED emerge to a ledge which faces A POOL OF DANK STAGNANT WATER. 
It's about 3 ft. deep.



			MASON  
		Across that, then 50 yards to the morgue. 
			(off Goodspeed's blank stare) 
		You said that's where the fucking poison is, Goodspeed.



			GOODSPEED 
		I don't get it.  You're going to help me?

			MASON  
		No. I'm going to give you dancing lessons.  What the fuck do you
		think?


			GOODSPEED 
		You don't have to get all bent out of shape.


			MASON 
		What's bent out of shape, idiot, is the tunnel I was going through
		to freedom five minutes ago.



			GOODSPEED 
		All right, all right.  Don't call me idiot, okay?



MASON what did I do to deserve this?  What God did I offend .....



GOODSPEED begins to wade into the pool.

MASON  
Stop. 
(GOODSPEED stops) 
There.  And there.



GOODSPEED squints.  The water slithers with COTTONMOUTHS. MASON  
unpack the QUART OF MOTOR OIL in spray bottle.



			MASON  
		Cottonmouth snakes.  They breath through their skin.  Oil clogs
		it.  They hate the stuff.



			MASON  
		sprays the motor oil across the pool.  The snakes scatter.  The
		pool's now coated with an OIL SLICK.  MASON  
		wades in.  Goodspeed follows.



The COTTONMOUTHS, repulsed by the oil, stay away. GOODSPEED 
tries not to look at the snakes.  They make it across.



			GOODSPEED 
		Something's a little off here: I'm the F.B.I. Agent, you're
		the convict, and you have all the guns.



MASON slaps the .9 MM pistol into Goodspeed's hand walks off. 
GOODSPEED follows.



INT.  ALCATRAZ - TUNNEL UNDER PRISON MORGUE - NIGHT

MASON  and GOODSPEED 
arrive at a fork in the tunnel. _

DOWN THE FORK IN THE TUNNEL - is the PRISON MONO-RAIL SYSTEM: a single
rail suspended from the tunnel ceiling, upon which SMALL CARTS are
suspended.

			GOODSPEED 
		The morgue?



MASON  nods.  Moves to a STEEL-RUNGED LADDER leading to a GARBAGE CHUTE
against the wall.  			GOODSPEED 
follows.


INT.  ROOM ADJACENT TO MORGUE - NIGHT

MASON and GOODSPEED emerge from the garbage chute.  They hear VOICES in
the next room.

INT.  MORGUE - NIGHT

PVTS.  GAMBLE and STARLING are guarding the poison. Starling's walking
around.  Gamble's seated on a MORTICIANIS TABLE, smoking.


The door bursts open.  MASON stands in the doorway.  GAMBLE dives away. 
STARLING whirls, raising his M-16.


MASON'S HAND flashes.  THE SAW-TOOTHED KNIFE flies the length of the
room and buries in Starling's neck.



			MASON  
		Never hesitate.

Gamble fires from his position around the corner.  MASON and Goodspeed
dive for cover behind a cabinet. GOODSPEED fires from cover without
looking, his gun raised over the cabinet.  Mason, underneath the
cabinet, fires at GAMBLE'S FOOT.  Gamble, shot, hits the deck.



GAMBLE unclips a GRENADE.  Before he can pull the pin....

MASON FIRES HIS CLIP EMPTY at the AIR CONDITIONER MOUNT on the ceiling
above Gamble.  The mount gives; the ENORMOUS AIR CONDITIONER falls,
crushing Gamble.  Gamble's GRENADE, still secured with the pin, rolls
away.



GOODSPEED rises.  Looks at Gamble under the air conditioner.  Just HIS
LEGS stick out. (Note: the rest of the scene's action plays out around
Gamble's legs.



			GOODSPEED 
		You didn't learn that in prison.



			MASON  
		No, and I used to be a lot quicker.



			GOODSPEED 
		I've got some questions for you but they can wait.



GOODSPEED opens the CORPSE DRAWERS revealing the V.X-. CHEM ROUNDS
(shaped like big tennis ball cans).



GOODSPEED carefully lifts out a chem round.  MASON  
grabs one, accidentally knocking it against the drawer.


			GOODSPEED 
		Careful.  The second you don't respect this, it kills you.

GOODSPEED and MASON set the V.X. chem rounds on the mortician's table. GOODSPEED 
pulls out his EQUIPMENT KIT.  Begins detaching the tops of the
chem rounds.



GOODSPEED reaches inside a chem round and carefully pulls out..... a
STRAND OF V.X. POISON PEARLS: ping-pong ball sized glass bubbles filled
with poison.



			GOODSPEED 
		I need a hand here. 
			(MASON looks anxiously at the poison pearls.)
 		Mason.  Now.



GOODSPEED 
hands the poison pearl strand to Mason.  MASON  holds it like a string 
of wind chimes.



			MASON  
		What...  exactly does this do to you?



			GOODSPEED 
		Any epidermal exposure or inhalation and you'll know: A twinge
		at the small of your back as the poison seizes the nervous system.
			(hands over another poison pearl strand) 
		Then loss of muscular function.
		Then you spit your guts out, it looks like a tub of spaghettils spilled
		on the floor, then your skin turns black...



MASON stares uneasily at the pearl strands.

			MASON  
		Sounds like my first marriage.



GOODSPEED  has the chem round's GUIDANCE SYSTEMS exposed.  Inside are
tiny GUIDANCE SYSTEM MICRO-CHIPS. GOODSPEED 
plucks the chip from each chem round and pockets it.



			GOODSPEED 
			(into tac radio) 
		Pier 39 come in.



			SANCHEZ  
			(V.O.) 
			(tac radio) 
		Goodspeed?  Where the hell have you been. Talk to me.



			GOODSPEED 
		We're in the morgue.  I'm removing the rocket's guidance
		system chips.
			(to Mason) 
		Without em the rocketslll fly about 500
		feet and splash down like a wounded duck.

GOODSPEED 
moves on to the third and fourth chem rounds. Suddenly there's
a BEEP. GOODSPEED and MASON whirl.  Pvt. Gamble's WALKIE TALKIE is
talking to them:


			HUMMEL 
			(O.S.) 
		Gamble, Starling.  Come in.

MASON and GOODSPEED exchange a nervous look.

			HUMMEL 
			(O.S.) 
		Privates Gamble and Starling, come in.



EXT.  ALCATRAZ - INFIRMARY COMMAND CENTER - NIGHT

Hummel clicks off his walkie-talkie.  Stands there a second, thinking.



			HUMMEL 
		The morgue. Hummel and Baxter exit quickly.

INT.  ALCATRAZ - MORGUE - NIGHT
GOODSPEED goes faster; his hands are
sweating, trembling.  It's like he's lost his spine. 
(And thinking about Carla, perhaps he has.)


			MASON  
		C'mon c'mon....  faster ....


GOODSPEED nearly drops a chem round.  MASON  
recoils.

			MASON  
		I thought you were cool under pressure.


			GOODSPEED 
		Shut up; you're making me nervous.


EXT.  ALCATRAZ - BETWEEN CELL HOUSE AND MORGUE - NIGHT

Hummel and his men race toward the morgue.

INT.  ALCATRAZ - MORGUE - NIGHT
GOODSPEED  has dealt with eight chem
rounds.  There should be seven more, but there's not. GOODSPEED 
counts them ....


			MASON  
		They'll be on us in twenty seconds.


			GOODSPEED 
		Wait a minute.  Fuck.  Hummel stole fifteen chem rounds. 
		There's only twelve here.  Here.  Quickly.  Do these last four.


MASON raises the poison pearl strands from each of the remaining four
chem rounds. GOODSPEED quickly plucks the chips from the guidance
systems.

EXT.  ALCATRAZ - MORGUE - NIGHT

Hummel and the marines converge on the morgue.  Surround the door.  They
burst inside, guns trained.


INT.  ALCATRAZ - MORGUE - NIGHT

COX, MCCOY, and DARROW fire machine gun bursts at --

-- MASON  AND GOODSPEED 
sprinting across floor, BULLETS chewing the
floor.  They dive into the MORGUE INCINERATOR CHUTE, GOODSPEED 
leaving the tac radio behind ....



INT.  TUNNEL UNDER MORGUE - NIGHT

GOODSPEED and MASON tumble out of the chute.  Two MONO-RAIL CARTS are
hanging there.  They exchange a look and climb into the first cart. 
MASON throws the cart's RELEASE LEVER.  The cart glides down the
mono-rail.



INT.  ALCATRAZ - MORGUE - NIGHT

HUMMEL goes to the mortician's table.  Sees the theft of the guidance chips.



			HUMMEL 
		Hendrix!  Take Royce and Scarpetti!



CAPTAIN HENDRIX and PVTS.  ROYCE  
and SCARPETTI dive into the incinerator
chute after MASON  
and Goodspeed.



			BAXTER 
		Gamble and Starling are dead.

CUT TO:

INT.  TUNNEL UNDER MORGUE - MONO-RAIL TRACK - NIGHT

Hendrix, Scarpetti, and Royce tumble from the incinerator chute.  Mason
and GOODSPEED are down the Mono-rail track.

Hendrix gets in THE SECOND MONO-RAIL CART.  Scarpetti gets in THE THIRD
MONO-RAIL CART.  Hendrix and Scarpetti pull the release levers.  The
Mono-rail carts rumble after GOODSPEED 
and Mason.  Hendrix shouts back to Royce:



			CAPTAIN HENDRIX 
		FOLLOW ON FOOT!


INT.  ALCATRAZ - MONO-RAIL TUNNEL - NIGHT The three carts fly down the
mono-rail: GOODSPEED and MASON  
(in CART 1) 50 feet ahead of Scarpetti
(in CART 2), who is 50 feet ahead of Hendrix (in CART 3)


IN CARTS 2 AND 3 - SCARPETTI and HENDRIX fire M-16s.

IN CART 1 - MASON  
and GOODSPEED duck as BULLETS RICOCHET around the tunnel walls.  
They pop up and return fire.


IN CART 2 - SCARPETTI arms hi over/under M-16 grenade launcher with a
grenade and...   FIRES.


THE GRENADE PROJECTILE shoots down the monorail tunnel.

IN CART 1 - MASON  AND GOODSPEED 
duck as the GRENADE PROJECTILE wings
over their heads, continues down the tunnel
and DETONATES against the tunnel wall.



CART 1 roars through smoke and debris left by grenade explosion.  As it
rounds a corner, MASON  
grabs A SPLINTERED TIMBER and releases from the
cart.  CART 1, with GOODSPEED 
alone continues down the mono-rail.



MASON  yanks down a 5 ft. long BROKEN SECTION OF SEWAGE PIPE and presses
himself against the tunnel wall.



AS CART 2 rounds the corner...

WHAM!!  MASON  swings, hitting Scarpetti flush in the forehead, killing
him and blowing him off the cart.  Cart 2, without Scarpetti, continues
down the mono-rail.



MASON  waits.  As CART 3 rounds the corner

MASON  swings again But Hendrix is waiting for it. Hendrix grabs the
swinging pipe and pulls MASON  
into Cart 3!



IN CART 3 - HENDRIX AND MASON  
FIGHT SCENE

Mason's sprawled on the floor of the cart.  Hendrix levels his M-16. 
MASON whipsaws the legs under Hendrix, bowling him over, the M-16
falling away from the cart.



MASON and Hendrix get to their feet.. They trade blow after blow as the
Cart ROARS through the tunnel.

IN CART 1 ~ GOODSPEED 
looks over his shoulder at MASON  
and Hendrix locked in mortal combat.  He pulls the CART BRAKE.  Cart 1 begins
slowing down.  CART 2 (Scarpettils) rams into it. Now Carts 1 and 2 are
together.  And on comes --

CART 3 - Hendrix knocks MASON  
to the floor of the cart.  Hendrix dives
atop Mason, strangling him. mason's head is bent over the front lip of
the cart.  MASON looks down the mono-rail track.  To his horror he sees
CARTS 1 and 2 slowing down ...

IN CART 1 - 			GOODSPEED 
realizes that his cart is going to ram Mason's
outstretched head.  He releases the brake, and Cart 1 picks up speed ...

IN CART 3 - Hendrix draws the knife.  Hendrix raises the knife.  With
his last strength, MASON rolls away.  Hendrix plunges the knife down,
missing Mason, him momentum carrying his head and shoulders over the
front lip of the cart.  MASON SCREAMS at Goodspeed.

						MASON  
		BRAKE! ! !

IN CART 1 - GOODSPEED 
pulls the cart brake and --

-- CART 3 SLAMS into CARTS 1 and 2 at 20 m.p.h., crushing Hendrixls head
and torso between Carts 2 and 3.


The collision knocks MASON  
off Cart 3, SLAMMING his head against the
tunnel wall.  MASON  falls unconscious.to the tunnel floor, while --


-- CART 1 is shoved by the collision across.a DITCH OF WATER in the
tunnel floor. GOODSPEED 
groggily gets to his feet. Jumps down from the cart.


			GOODSPEED 
		Mason!

In the midst of this PVT.  ROYCE  
runs up.  Sees MASON concussed,
helpless.  Royce draws his GLINTING KNIFE.  Kneels over Mason.  He's
going to cut his throat.


			GOODSPEED 
		Wait.

Royce lowers the knife.  Looks across the ditch at Goodspeed.  The ditch
is 20 ft. wide and filled with dank, stagnant water and we've seen dank,
stagnant water before.



			GOODSPEED 
		Pretty easy killing an unconscious man. How about trying me? 
		Punk. 
			(beat) 
		What're you waiting for?  Limp dick.

			ROYCE  
		I am going to fuck you up something fierce.  You rolled the wrong
		number, shithead.  You crapped out.

And ROYCE begins to wade into the ditch.  And GOODSPEED 
is looking at the water, waiting... ROYCE is waist deep now.  
Royce feels something. He winces.  Looks down at --



FIVE COTTONMOUTH SNAKES, fangs wide and white, plunging into him.  Royce
screams.  His knees buckle.  He falls to his knees in the water.  A
COTTONMOUTH stuck to his neck... Royce SHRIEKS again ...



And slides gently under the water.

			GOODSPEED 
		I rolled snake-eyes.  Shithead.



Goodspeed, hand over hand on the monorail, eases the cart across the 
stagnant ditch.  Hops out.  MASON gets to his feet.  The two exchange a look.



			MASON  
		Limp dick?

			GOODSPEED 
It's all I could think of.



They stumble off down the mono-rail tunnel.

			MASON  
		I think I've got arthritis.



INT.  WHITE HOUSE - NIGHT

General Kramer, C.I.A. Director Amway, chief of Staff Hayden Sinclair
and Security Advisor Louis Lindstrom.


							HAYDEN SINCLAIR 
		The President arrives in three hours.  His directive is
		to string Hummel along until the airstrike is operational.


							LOUIS LINDSTROM  
		What's the word from Mojave, General?


							GENERAL KRAMER  
			(grim) 
		They're going as fast as they can.

A corrugated aluminum hangar.  SUPER:

Mojave Desert United States Air Force Testing Facility


INT.  U.S.A.F. TESTING FACILITY WAREHOUSE - NIGHT

Looks like a Formula One garage.  ROCK MUSIC blares.

Eight GUIDED MISSILES (finned, 8 feet long) hand from hoists in various
states of repair.  U.S.A.F. TECHNICIANS hover over the missiles.



IN A CORNER - JIMKY FISK and LARRY GILER consult.

							LT. FISK
		We're fucked, cap'n.


							CPT.  GILER 
		Are we fucked with a pencil or are we fucked with a baseball
		bat.


							LT. FISK 
		We're fucked with a telephone pole. (turns to the missiles) we
		can arm em with Willy Peter, no problem, but negatory pn smart bomb
		capability.


							CPT.  GILER
		What are you saying?


							LT. FISK 
		The pilots are gonna have to drop em manually.  We're talkin,
		retro, baby.  We're talkin' World War II.


INT.  ALCATRAZ - BEHIND "CHINA ALLEY" - NIGHT

MASON and GOODSPEED 
emerge from the mono-rail tunnel.  The launcher on
China Alley is in the b.g. Suddenly, from the loudspeaker above them:



			HUMMEL 
			(V.O.) 
			(loudspeaker) 
		Attention Navy Seals, attention.


MASON  and  GOODSPEED freeze.


			GOODSPEED 
		He thinks we're Seals.


			HUMMEL 
			(V. 0. ) 
			(loudspeaker) 
		Congratulations.  You've taken some things
		of mine.  I can't convince you to return them so I'll put on someone who can.



A pause.  Then A MALE VOICE.  Nervous.  Quivering.


			MALE VOICE 
			(V.O.) 
			(loudspeaker) 
		Hell...  hello.

EXT.  ALCATRAZ - PRISON EXERCISE YARD - NIGHT

LARRY HENDERSON, 48, stands at the end of the exercise yard in a SPOTLIT
AREA.  Capt.  Darrow has his .45 placed against Larry's left temple.



			HUMMEL 
		Tell them your name and age.



			LARRY HENDERSON 
		My n...name is L... larry Henderson.  I'm forty-eight.



			HUMMEL 
		 Good Mr. Henderson, continue ...



			LARRY HENDERSON 
		I don't know who you are, but p please, there's a gun



EXT.  ALCATRAZ - BEHIND CHINA ALLEY - NIGHT MASON  
and Goodspeed, crestfallen, listen. LARRY HENDERSON (V.O.) (loudspeaker) ...	and
they're going to	oh god... (through tears) ...	please
don't kill me



Larry's quivering voice trails off.  Replaced by:

			HUMMEL 
			(V.O.) 
			(loudspeaker)
		Convinced?  Mr. Henderson hopes so. You have
		two minutes.



GOODSPEED turns to Mason.


			GOODSPEED 
		I'll go.

			MASON  
		Wrong.

			GOODSPEED 
		What, vou?

			MASON  
		I'm not the chemical weapons expert.


			GOODSPEED 
		Good point.  Okay here, take 'em.


GOODSPEED unpockets the V.X. ROCKET'S GUIDANCE CHIPS.  Hands them to
Mason.  MASON heaves them into the bushes.



			GOODSPEED 
		What are you doing?

			MASON  
		Now they only have three rockets left.



			GOODSPEED 
		What about Mr. Henderson?



			MASON  
		Hummel's a soldier, not a murderer.



			GOODSPEED 
		Wait.

			MASON  
							(stops; turns) 
		Find the rockets.  If they're guarded, kill the men
		guarding them.



			GOODSPEED 
		I... I don't know if I can do this.



			MASON  
		There's only one way to find out.  I'll try to give you time.  And
		Goodspeed.... 
				(tosses GOODSPEED his ATROPINE SYRINGE) 
		Don't be an idiot. Put that on.



MASON moves off into the night.

			GOODSPEED 
		Well thank-you, thank-you very much.



GOODSPEED creeps toward the China Alley rocket launcher.

EXT.  CHINA ALLEY - NIGHT

GOODSPEED moves under the grated, multi-level
structure of china Alley.  Looks up through the grate.  The ROCKET
LAUNCHER sits on the grate on the level above him.



EXT.  MAIN CELL BLOCK - NIGHT

MASON  walks down the middle of the cell block toward the opening to the
exercise yard.



EXT.  ALCATRAZ - PRISON YARD - ONE MINUTE LATER - NIGHT

Darrow with his gun to Larry Henderson's head.  Hummel paces in the
background.  MASON emerges ftom the cell block.


MASON  walks up to Hummel.  The two stand there a moment, regarding each
other.


			CAPTAIN DARROW
		Gotta be kidding me.  They send an old man.


MASON gives Darrow a hard-eyed glance.  Hummel takes a lap around Mason,
sizing him up.


			HUMMEL 
		I thought I'd been in the service a long time.  Name and rank,
		sailor.



			MASON  
		John Paul Mason. 
							(stares at Hummel) 
		Royal Navy.  Commander.


			HUMMEL 
		You're a long way from England, Commander Mason.


			MASON  
		I feel strangely at home.



			HUMMEL 
 		How's that?

			MASON  
		You wouldn't believe me if I told you.


			HUMMEL 
		Do you have some unique knowledge of this prison facility,
		Commander Mason?



			MASON  
		Quite unique.



			HUMMEL 
		How's that?



			MASON  
		I was a guest here.

Glances all around.  Someone laughs.  Everyone laughs.

EXT.  CHINA ALLEY ROCKET LAUNCH STATION - NIGHT 

Pvt.  COX mans the
launcher.  Suddenly a voice:

			GOODSPEED 
			(V.O.) 
		Freeze. 
			(Cox freezes) 
		Drop the weapon and turn around. Slowly.



Pvt.  Cox drops his weapon.  Slowly turns.  Goodspeed, one hand on his
gun, the other on HIS TOOLS, begins to unscrew the V.X. CHEM ROUND
FACE-PLATE.

ON THE GRATED LEVEL ABOVE GOODSPEED 
- PVT.  MCCOY appears. Looking down,
he sees GOODSPEED and Cox.  He cinches his REPELLING CLIP to the steel
railing.



EXT.  ALCATRAZ - PRISON YARD - CONTINUOUS - NIGHT

			HUMMEL 
		Well you're some kind of joker, Mason.  Maybe you're a lunatic. 
		Are you of sound mind, Mason?



			MASON  
		I'm not threatening the lives of a million innocent people.  You
		are.



Hummells demeanor changes.  Hard now.  Tight.


			HUMMEL 
 		Give me the guidance chips.


			MASON  
		I threw them in the bay.



			HUMMEL 
		That was stupid of you.



			MASON  
			(re: hostage Henderson) 
		Would you have shot him7

CUT TO:

The marines look at Hummel, wondering the same thing. 220  EXT.  CHINA
ALLEY ROCKET LAUNCHING STATION - NIGHT GOODSPEED, still holding Cox at
bay, pulls the V.X. chem round from the rocket.  The going is slow. he
begins to lift the POISON PEARL STRANDS from the chem round.  His hand
reaches to unclip the GUIDANCE SYSTEM CHIP.


Suddenly PVT.  MCCOY repels to the level behind Goodspeed. Goodspeed
grabs the chip and dashes off, slamming through an OLD WOODEN DOOR into
the CIVIL WAR RUINS.



EXT.  PRISON YARD - CONTINUOUS - NIGHT

MASON and Hummel.  The previous question dangles in the air: Would you
have shot him?
		

			HUMMEL 
		You seem like a bright man, Commander. Bright men understand
		necessity.


			MASON  
		Bright men also obey the law. "Wherever law ends, terror begins."
		John Locke.


			HUMMEL 
		"Where there is no law, there is no transgression." The Bible. 
		Romans, Chapter 4, Verse 15.



			MASON  
		Article 7, American Constitution?  "Treason against the United
		States shall consist of... 11



			HUMMEL 
 		The American Constitution was written by traitors, Commander. 
		Traitors against a government founded on injustice and tyranny and
		stupidity. 
			(beat) 
		I see little difference in my motivation.

EXT.  CHINA ALLEY ROCKET LAUNCHING STATION - NIGHT

Goodspeed, inside the Civil War ruins, levels his gun at the door.  The
chip is in his free hand.

The door CREAKS open.

EXT.  PRISON YARD - CONTINUOUS - NIGHT

			HUMMEL 
		Do you, Commander Mason?


Suddenly GUNSHOTS.  Coming from China Alley.  Hummel and men whirl
around, startled.



			HUMMEL 
		Frye, Crisp, go!


EXT.  CHINA ALLY ROCKET LAUNCHING STATION - NIGHT
GOODSPEED wildly
discharges his gun until CLICK, the clip is spent.  Cox and McCoy step
through the doorway.


GOODSPEED shoves the guidance chip in his mouth.


			MCCOY 
		Swallow that and I swear on my Aunt Myrtle's grave I'll cut your
		belly open and pull it out.

McCoy and Cox spring at Goodspeed.  McCoy whips the butt end of his gun
against Goodspeed's head. GOODSPEED crumples, unconscious.  McCoy jams
his fingers in Goodspeed's mouth.

MCCOY He bit the fuckin' thing.  It's shot.


INT.  MAIN CELL HOUSE - CELL BLOCK 'ID" - MORNING

GOODSPEED squints through painful eyes, gaining consciousness. he looks
around, taking stock of the start cell on 'ID" block.  Gets to his feet.
 Goes to the bars:


			GOODSPEED 
		Mason. 
						(no response) 
		Mason?

			MASON  
			(V.O.) 
		It's about time.


			GOODSPEED 
		Where are you?

A CELL ON THE TIER ABOVE GOODSPEED - 

MASON  sits on a bed.

			MASON  
		Above you. 
						(under his breath)
		 Literally and figuratively.


WIDENING, we see that MASON'S MATTRESS has been ripped into long strips.
 MASON  
is BRAIDING THE STRIPS into a long rope.  The rope is quite
finely constructed.  Mason's been at this several hours.


INTERCUT BETWEEN THE TWO CELLS (and during the following, MASON  
keeps busy with his rope braiding).


			GOODSPEED 
		This is tiny.


			MASON  
		You referring to your intellect, Goodspeed?  Or another portion of
		your anatomy ....

			GOODSPEED 
		The cell, Mason.


			MASON  
		Five feet by seven.  Try living in one for a year.  What happened?


			GOODSPEED 
		I only got one chem round.  There are two left.  I fucked up.


			MASON  
			(sarcastic) 
		Surprise, surprise.

			GOODSPEED 
		I'm not a field agent, all right?  So cut me a break.

			MASON  
		An F.B.I. Man asking me for a break. How droll.


			GOODSPEED 
		What is your beef with the Bureau, anyway Clmon.  Tell me.


			MASON  
		Let's say our countries had a little dispute.  They both knowingly
		shafted me.



			GOODSPEED 
		How?


			MASON  
		Familiar with the name Hoover, Goodspeed?  I don't mean a vacuum
		cleaner ...
		


GOODSPEED listens intently and

CUT TO:

INT.  LONG BEACH AIR FORCE BASE HANGAR - MORNING


SUPER: LONG BEACH, CA. - U.S. AIR FORCE BASE.

TECHNICIANS are frantically installing WILLY PETER INCENDIARY BOMBS
under the wings of an F-16.



ACROSS THE HMGAR - General Peterson and Captain Giler brief FOUR F-16
TOP GUN PILOTS.



GENERAL PETERSON The target.  Alcatraz Island.  This is not a precision
strike.  The entire island is to be blanketed.



LWO F-16 PILOT Sir, we hit that Island with Willy Peter and it's going
to look like Iwo Jima.  No one can survive it.



GENERAL PETERSON (grimly) That's why this is a volunteer mission,
Captain.  If any of you have doubts you can carry it out, speak up.


The pilots look at each other.  Silence.

			GENERAL PETERSON 
		Captain Giler?

			CPT.  GILER 
		We jerry-rigged a release lever.  You'll find it on the left
		side of the cockpit.  It's got two positions: safety and release.  Throw
		it on release, the bomb drops in five seconds.  Change your mind, throw
		it back on safety.  Any questions?



INT.  ALCATRAZ - GOODSPEED'S CELL - MORNING

GOODSPEED stares blankly into space.  INTERCUT between the two cells
again.



			GOODSPEED 
		Jesus. 
			(thinks) 
		Why didn't you just tell Hoover and the bureau
		where the microfilm was?  Make a trade?



			MASON  
		Some trade.  They'd get the microfilm and I'd get a bullet in the
		head.



			GOODSPEED 
		I see your point.  Something's been on my mind.  About your
		escape.



			MASON  
		What?

MASON  rises.  Lifts the bed.  Pulls off the bed's heavy ROLLING CASTER. 
Knots the caster onto one end of the braided rope.



			GOODSPEED 
		You went down the shower drain, through the tunnels to the
		power plant, under the steam engine and out through the intake pipe -
		that much I've got ' But... howld you get out of your cell?


MASON leans out his cell and tosses the rolling caster down the cell
block.  The braided rope, tied to it, plays out to it's full length.



			GOODSPEED 
			(cont'd) 
		I only ask because, in our current situation, it
		might be useful information ...



The result: the braided rope lies across the cell block floor, the
rolling caster tied to it.  MASON  holds the other end of the rope 
through the bars of his cell.

			MASON  
		Trade secret, Billy, I'll tell you this:	it was easier than
		getting in.

MASON  
fiercely yanks the rope toward him.  The heavy rolling caster
jerks from the floor.  The CASTER, pulling the rope, flies past Mason's
cell --


-- shooting in an arc around the corner of the cell block, still pulling
the rope, where --



-- the caster-pulled ROPE catches the CELL RELEASE LEVER against the
wall.  The rope coils, WRAP WRAP WHAP, around the release lever handle.



MASON  
tugs the rope taut like he's just snagged a fish. Then he pulls
slowly and delicately.



THE CELL DOOR RELEASE LEVER pulls down and --

-~ MASON'S CELL DOOR (and all the doors on that tier) open at once.  And
MASON  
smiles.



INT.  GOODSPEED'S CELL - MORNING 			
GOODSPEED hears the doors opening above
him.

			GOODSPEED 
		Hey!  Hey what's happening? 
			(no response) 
		Mason.  Mason?


Suddenly Goodspeed's cell door opens. GOODSPEED exits the cell.  MASON
stands there.



			MASON  
		You're on your own, kid.  Your gear's over there.



MASON  motions to a HEAP OF THEIR GEAR (clothes, weapons, flares) in the
corner of the cell tier.



			GOODSPEED 
		Shit....

GOODSPEED 
grabs his guns and gear and follows after
Mason. 225  EXT.  ALCATRAZ - INFIRMARY COMMAND CENTER - MORNING Hummel
sits behind the desk.  Baxter, Frye, Darrow, Hendrix in front of him. 
Silence.  Hummel stares at his phone.  The tension is palpable.


			HUMMEL 
		Time.


			BAXTER 
 				(consults his watch) 
		Fifteen minutes Frank.



CAPTAIN FRYE 
We have two operational rockets left, General.  One on the
lower lighthouse, one on the rooftop, ready for fire. (no response)
General.



			HUMMEL 
		I heard you Captain.

			CAPTAIN DARROW
		Prepare for launch General?  General?



			HUMMEL 
		Not yet.

			CAPTAIN FRYE 
		General Hummel, noon is approaching.



			HUMMEL 
 		I'm aware of the time, Captain.


Hummel glares at Frye, then at the phone.  Frye and Darrow .exchange a
look ....



CUT TO:

INT.  WHITE HOUSE - OVAL OFFICE - MORNING The clock on the wall reads
11:47. 13 minutes to go. General Kramer, Security Advisor Louis
Lindstrom, and C.I.A. Director Milton Amway.



			LOUIS LINDSTROM  
		When was the last communication from our men on
		Alcatraz?



			GENERAL KRAMER  
		Seven hours ago.

The Naval Attache enters excitedly. NAVAL ATTACHE General, the white
phosphorous attack is operational.



General Kramer grabs the phone.



			GENERAL KRAMER  
		Get me the President.


227 EXT.  ALCATRAZ - PARADE GROUND - MORNING

MASON  emerges from the parade ground ruins and moves down the embankment
toward the water. GOODSPEED stays above.



			GOODSPEED 
		Mason.  John. 
							(MASON stops) 
		What happened - the injustice done
		to you - doesn't mean you can walk away from this.  A million people
		across that Bay will die.



			MASON  
		Only one of them I care about.



			GOODSPEED 
		You were once a different man.



			MASON  
	You don't know what kind of man I was.



			GOODSPEED 
		You were a civil servant.  Sworn to do your duty.  Just like
		me.



MASON  begins climbing down to the waterline.

INT.  ALCATRAZ - INFIRMARY COMMAND CENTER - MORNING

Hummel, with Baxter, Hendrix, Frye, Darrow and Crisp.  The atmosphere is
now so fucking thick you can cut it.



			CAPTAIN DARROW
		Eleven fifty-seven, General.  Three minutes to go.



			HUMMEL 
		They're going to call.



			CAPTAIN FRYE 
		They are not going to call General.



			HUMMEL 
		 I... I don't understand this.



			CAPTAIN DARROW
		I understand it.  They're calling our bluff.  We have two
		operational rockets left.  We have to stick one of those rockets in
		their ear, General.



			HUMMEL 
		Atom?

			BAXTER 
		I'...I don't know Frank.


			HUMMEL 
		Seventy thousand peqple...  I didn't... i didn't ever...


			CAPTAIN FRYE 
		You didn't ever what? 
			(no response) 
		You didn't ever what, General? 
			(gets in Hummel's face) 
		General, forty-eight hours ago I was in
		a cushy job at Pendleton.  As of this moment I am subject to prosecution
		for treason and murder.  Do you know what that means.  It means the
		electric chair.  For all of us.



			BAXTER 
		 He's right Frank.  Authorize the launch or it's over.


All eyes on Hummel now.


			CAPTAIN DARROW
		Authorize the launch, General.


Hummel nods and



CUT TO:

EXT.  ALCATRAZ - ROOFTOP OF MAIN CELL HOUSE - MORNING

Capt.  Frye and Sgt.  Crisp approach the rocket launcher across the roof
of the main cell house.



EXT.  ALCATRAZ - PARADE GROUND - MORNING Mason's wading into the water
now. 

			GOODSPEED
		You'll never make it.


			MASON  
		I once swam the English Channel, but you're entitled to
		your,opinion.



Goodspeed, disgusted, turns and heads back, grumbling.


			GOODSPEED 
		Fine.  I'll fuckin, do it myself.



EXT.  ROOFTOP OF MAIN CELL HOUSE - MORNING

CAPT.  FRYE AND SGT.  CRISP on the roof, ready the rocket launcher. 
Hummells VOICE comes over Fryels walkie-talkie:



			HUMMEL 
 			(V.O.) 
			(over walkie-talkie)
		Launch coordinates 675 dash 439.

			CAPTAIN FRYE 
		Aye aye General: coordinates 675 dash Awaiting launch
		command.

INT.  INFIRMARY COMMAND CENTER - MORNING

Hummel stares at a GRIDDED MAP OF THE BAY ARF.A.

			CAPTAIN FRYE 
				(V.O.) 
			(over walkie-talkie) 
				(beat) 
		General, your command.

				HUMMEL 
		 				(closes his eyes)
		Fire.


EXT.  ROOFTOP OF MAIN CELL HOUSE - MORNING

Frye presses the ignition switch.  The ROCKET'S TAIL fires. It ROARS off
the launcher.  Toward Oakland.

EXT.  ALCATRAZ - PARADE GROUND - MORNING

CLOSE ON MA-SON - as he watches the V.X. ROCKET ROARING over his head
toward civilian populdtion.

				MASON  
   			  (hushed) 
		My god. MASON looks up. GOODSPEED stands above on the
		embankment.


			GOODSPEED 
		That change things?

INT.  PIER 39 - FBI COMMAND - MORNING

the F.BI. RADAR TECHNICIAN stares at the RADAR SCREEN.

			F.B.I. RADAR TECHNICIAN 
		They fired a rocket.  It's headed east.

Everyone stares at the radar screen.  A hush.


			SANCHEZ  
		East.  But that's... Oakland. (dawns on him) My god.  The
		football game.

EXT.  ALCATRAZ - PARADE GROUND - MORNING

MASON  
comes back up the embankment.  Faces Goodspeed-with grim resolve:

			GOODSPEED 
		Partners?

			MASON  
		Partners.

The two men clasp hands and

CUT TO:


EXT.  OAKLAND COLISEUM - NOON

60,000 FOOTBALL FANS scream as THE OAKLAND RAIDERS sprint onto the
field.  Above, unbeknownst to anyone --

EXT.  SKIES OVER OAKLAND CALIFORNIA - DAY

The V.X. ROCKET arcs over Oakland and --

INT.  ALCATRAZ - INFIRMARY COMMAND CENTER - DAY

-- Hummel, Baxter, and Darrow stare at the transmission from the
rocket's optic camera.



ON THE VIDEO MONITOR - We first see CLEAR SKY.  The rocket reaches its
apex.  Blue sky is now replaced by THE OAKLAND COLISEUM directly below. 
We descend on 60,000 people.



BACK TO SCENE - HUMMEL 
 watches the video monitor nervously. His jaws
twitch.



He looks at the ROCKET GUIDANCE CONTROL COMPUTER.  He looks at the video
monitor.



He can't take it.  Hummel lunges for the ROCKET GUIDANCE CONTROL
COMPUTER.  Darrow tries to restrain him, but -- Hummel punches in NEW
COORDINATES --



EXT.  SKIES OVER OAKLAND COLISEUM - DAY

The V.X. Rocket's GUIDANCE CONTROL suddenly BLINKS RED. the rocket veers
off on a new vector.  Heading now toward San Francisco Bay.  And



CUT TO:


INT.  PIER 39 COMMAND CENTER - DAY

The F.B.I. Radar Technician reacts to the change in the rocket's
trajectory.


			F.B.I. RADAR TECHNICIAN 
		Sir, it's heading.,.into the bay?



EXT.  SAN FRANCISCO BAY - DAY

A CHARTER FISHING BOAT bobs in the bay.

245 EXT.  CHARTER FISHING BOAT - DAY

Four GUYS are fishing.  Relaxing.  Drinking beers. one guy looks up. 
Sees something.



			CIWTER FISHERMAN 
		What the hell.... ?

EXT.  SKIES OVER SAN FRANCISCO BAY - DAY The V.X. rocket screams down.
at 500 ft. altitude it DETONATES.  Showering a cloud of V.X. POISON onto
the bay.


247 EXT.  CHARTER FISHING BOAT - DECK - DAY 

The FISHERMEN stand there, stunned as DROPLETS OF V.X. POISON fall upon them.  
It's like a grey drizzle.



The Fishermen exchange looks.  Hold out their hands, catching "rain
drops".  One of them spasm.  Another.  The others.  Skin turns black. 
Blood runs from pores.


EXT.  ROOFTOP OF MAIN CELL HOUSE - DAY 
Frye and Crisp stare across the Bay in disbelief. 


			CAPTAIN FRYE 
		I don't believe it.  He pulled the plug.


Frye, disgusted, races down the STAIRS.

EXT.  ALCATRAZ - IN FRONT OF INFIRMARY - DAY

Frye stalks into the infirmary.  MASON  
and GOODSPEED come around the corner and steal inside the infirmary.



INT.  WHITE HOUSE - OVAL OFFICE - DAY

Chief of Staff Hayden Sinclair stands before the desk of the President
of the United States.


			HAYDEN SINCLAIR 
		They need a decision Mr. President.


The President (who we don't see) gazes into the East Garden.

The President hits his INTERCOM to the room where his cabinet is
gathered.  INTERCUT with the authorities, reactions, as needed:



			PRESIDENT 
		These past few hours have been the longest, darkest of my
		life.  This is when you wish the buck did not stop here. 
			(beat) 
		A balance between two tragedies. On one hand the fate of a million civilians. 
		On the other, Frank Hummel.  That we have ignored or abandoned or marginalized
		a great soldier like Frank Hummel and that American boys have paid the
		price of that neglect in blood, is equally real, and equally tragic.


			HAYDEN SINCLAIR 
		The glass is half full not half empty, sir.  No civilian
		casualties so far.


			PRESIDENT 
		I don't believe in half full or half empty, Sinclair.  There
		are chemical weapons and there are civilians.  And there are men on
		Alcatraz wholve proved they're willing to use the one on the other.
		(beat) We are at war with terror.  Fighting a war means casualties. 
		This is the worst call I've ever had to make. (takes the phone) Air
		strike approved.


EXT.  PIER 39 COMMAND CENTER - MOBILE WAR ROOM - DAY

Sanchez, Womack, Carla, silent around speakerphone.

EXT.  LONG BEACH AIR FORCE BASE - DAY

The F-16s ROAR down the runway, lifting into the sky.

INT.  ALCATRAZ - INFIRMARY CORRIDOR - DAY

MASON and GOODSPEED move silently down the corridor.  They pass the
HEAVY STEEL DOOR of the Marinets Command Center.  It's ajar.  Voices
emanate within.



 GOODSPEED and MASON  
move inside the adjacent room. B253   INT. 
INFIRMARY ROOM ADJACENT TO COMMAND CENTER - DAY There's a 4 x 16 inch
slit in the wall.  MASON  and  GOODSPEED 
position themselves on either
side, watching and eavesdropping on the drama unfolding within.



INT.  ALCATRAZ - INFIRMARY COMMAND CENTER - DAY 
Frye, Darrow and Baxter. All staring at Hummel. 

			CAPTAIN FRYE 
		You're gutless.  I knew it.


			CAPTAIN DARROW
		 The problem is now thev know it.

			HUMMEL 
		 Careful son.  I'd maintain discipline if I were you.


Darrow draws his .45, levels it at Hummel.  INTERCUT with MASON  
and
Goodspeed's reactions.


			CAPTAIN DARROW
		I'm relieving you of your command General.  Captain Frye?


			CAPTAIN FRYE 
		I'm in.



			CAPTAIN DARROW
		 Major?

Major  Baxter looks from Darrow to Hummel.

			HUMMEL 
		Tom?


			BAXTER 
		It's over Frank. 
							(to Darrow) 
		I'm in.


Hummel blinks.  He can't believe this.

			HUMMEL 
		Tom, I warn you.


			BAXTER 
		Stand down, General.

			HUMMEL 
		I'm giving you a direct order.


			BAXTER 
 			(draws his .45) 
		I'm not accepting it.


IN THE ADJACENT ROOM - GOODSPEED 
and MASON  exchange a tense look. mason
aims his gun through the slit ...

HUMMEL draws his .45 but Baxter fires first, hitting Hummel squarely in
the chest.


MASON  
FIRES through the slit, killing Baxter as --

HUMMEL , gunshot, reels toward the STEEL DOOR behind him.  He wrenches it
open and lunges outside into the corridor.  IN THE CORRIDOR - MASON
fires into the command center, sending Frye and Darrow diving for cover.
GOODSPEED 
grabs the semi-consious Hummel and drags him down the
corridor-.


IN THE INFIRMARY WASHROOM - GOODSPEED 
drags Hummel inside. Hummel
collapses against the wall.

His blood runs across the tiled floor.  MASON  
takes a defensive position
in the washrooms doorway.


DARROW AND FRYE attack through the infirmary's maze of rooms, taking
cover where they can, squeezing off rounds.

MASON fires at Darrow and Frye from the doorway while GOODSPEED 
kneels over Hummel.  Hummells dying and knows it. he stares at Goodspeed
through glassy eyes.


			HUMMEL 
		My god what have I done ...


			GOODSPEED 
		It's not too late, General.  Tell me where the last chem round
		is.



			HUMMEL 
			(gasps for air) 
		Lower lighthouse ...


Hummel dies.  MASON and GOODSPEED turn from Hummel to each other.


			MASON  
		Do your job, Billy. - I'll try to hold ,em off.


MASON  
blasts away at Frye and Darrow, allowing GOODSPEED 
to sprint for
the exit toward the lower lighthouse.


As Frye holds down MASON  
with fire, Darrow sprints for the opposite
exit.  Frye, firing while retreating, moves back inside the Command
Center.



EXT.  MAIN CELL HOUSE - DAY
GOODSPEED exits and sprints toward the lower
lighthouse.

EXT./INT. ALCATRAZ - LOWER LIGHTHOUSE - DAY 
Sgt.  Crisp smokes a cigarette next to launcher. GOODSPEED  enters, 
gun raised.  Crisp spins, drawing his .45.


			GOODSPEED 
		Don't ...

GOODSPEED 
shoots Crisp.  Crisp falls dead. A255 INT.  INFIRMARY -
CORRIDOR - DAY MASON  
advances toward the command center's door. 
Suddenly the HEAVY STEEL DOOR creaks open and --


-- A SATCHEL EXPLOSIVE flings out, sliding across the corridor floor
toward Mason.  MASON  
turns and sprints away.  Frye bolts from the room,
s printing the other way.


MASON  
dives away as the satchel DETONATES, imploding the corridor walls,
collapsing the,ceiling. mason's engulfed in two tons of-plaster and
crumbled cinder block.

INT.  LOWER LIGHTHOUSE - DAY

Goodspeed's detached the V.X. CHEM ROUND from the rocket. He's about
ready to pull out the poison pearls when..


DARROW barges in.  GOODSPEED, c hem round in hand, moves behind the
stairway and scaffolding in the room,s middle.


INT.  INFIRMARY COMMAND CENTER - DAY Frye, at the GUIDANCE CONTROL
COMPUTER, into walkie talkie.

CAPTAIN FRYE 
Crisp, Darrow, come in... (thinks; clicks walkie talkie to
new channel) Cox, McCoy, get your asses up here!



EXT.  ALCATRAZ - WHARF WATCH TOWER - DAY

Pvts.  Cox and McCoy, standing watch, leave the watch tower and hurry
toward the infirmary and lower lighthouse.



INT.  LOWER LIGHTHOUSE - DAY

Darrow moves one way, GOODSPEED 
the other. GOODSPEED holds the chem
round in front of him.



			CAPTAIN DARROW
		Give that to me.

			GOODSPEED 
		You shoot me, I'll drop this and we're both dead.  One of
		these pearlslll kill everything within 200 feet.  You know how this shit
		works?


Darrow drops his gun.  Pulls out a TITANIUM BLADED KNIFG.

			CAPTAIN DARROW
		You know how this shit works?


Darrow advances on Goodspeed.  The only route to GOODSPEED 
is between the rocket and the window.  Darrow continues advancing., GOODSPEED 
eyes the launcher's IGNITION SWITCH.  As Darrow passes between thewindow and
the launcher ....



			GOODSPEED 
		You know the Elton John son, "Rocket Man"?


			CAPTAIN DARROW
		I hate it.


Darrow lunges. GOODSPEED 
stabs the IGNITION SWITCH.  The VX ROCKET
LIFTS OFF, HITTING Darrow square in the chest.


EXT.  LOWER LIGHTHOUSE - DAY

-- The VX ROCKET BLOWS Darrow THROUGH THE WINDOW and wings off, clearing
the cliffs.  Darrow falls from the rocket --



			GOODSPEED 
		Well it happens to be my favorite fuckin, song!



EXT.  ALCATRAZ - PARADE GROUND - DAY

DARROW plummets, IMPALING himself on a STEEL FENCE SPIKE. The VX ROCKET
swerves madly across the bay --



INT.  PIER 39 COMMAND CENTER - MOBILE WAR ROOM - DAY

			F.B.I. RADAR TECHNICIAN 
		Second rocket's away, sir. (confused look) It
		went in the Bay sir.



INT.  LOWER LIGHTHOUSE - DAY

Goodspeed's alone now with the last V.X. CHEM ROUND.  He -pulls out the
STRAND OF POISON PEARLS.  Suddenly an AXE BLADE comes through the door.
outside --



EXT.  LOWER LIGHTHOUSE - DAY -- CAPT.  FRYE chops at the door lock with
a FIRE AXE.

INT.  LOWER LIGHTHOUSE - DAY 
GOODSPEED  looks around frantically.  Only
one place to go. Up. GOODSPEED 
scrambles up the interior metal stairs.



EXT.  LOWER LIGHTHOUSE ROOFTOP - DAY

GOODSPEED 
emerges on the roof.  Sets down the chem round.  Pulls out the
POISON PEARL STRANDS, his hand shaking.  With the other hand, he unclips
the ROCKET GUIDANCE CHIP.



The COPPER STRANDS holding the pearls are corroded.  A strand BREAKS. 
Four PEARLS fall. GOODSPEED 
catches three.  The FOURTH drops, hitting
his SHOE.  It rolls along the rooftop. GOODSPEED 
sets aside the other
pearls and dives, grabbing the stray pearl an inch from the roof,s edge.



Suddenly THE HUGE LIGHTHOUSE WINDOW behind GOODSPEED 
EXPLODES, showering GOODSPEED with glass.



ON THE ADJACENT ROOFTOP ~ PVT.  MCCOY, wielding a smoking .60 Cal
MACHINE GUN.  McCoy fires a wicked, long, sustained burst, emptyinc his
entire ammunition belt.


THE LIGHTHOUSE SEARCHLIGHT FRESNEL blows to shreds.
GOODSPEED rolls away, GLASS SHARDS raining down on him, cutting him-.  
He's a sitting duck.



MCCOY casts aside the .60 Cal and unshoulders a SNIPER RIFLE.  Draws a
bead on GOODSPEED 
again.  GOODSPEED, bleeding, terrified, cowers,
awaiting death.


A SILHOUETTE APPEARES behind McCoy.  It's MASON, dirty and bloodied. 
McCoy spins.  MASON  
bats the rifle aside, KNEES McCoy in the solar
plexus, grips McCoyls NECK -- SNAP! -and HURLS him off the roof.  McCoy
falls 5 floors.



GOODSPEED gives MASON a thankful glance.  And hears THE DOOR BURST OPEN
BELOW.



INT.  LOWER LIGHTHOUSE ROOFTOP - DAY

FRYE roars inside.  Looks around.  Starts up the stairs.

EXT.  LOWER LIGHTHOUSE - DAY

FRYE barges onto the roof.  Sees the DISMANTLED CHEM ROUND.  Goodspeed's
at the edge of the roof looking down.


			CAPTAIN FRYE 
		Give me the guidance chip.


Frye raises his M-16 as GOODSPEED 
jumps.  Lands hard on the ground below and sprints off.



EXT.  ALCATRAZ - IN FRONT OF THE LOWER LIGHTHOUSE - DAY

GOODSPEED  sprints toward the NEW INDUSTRIES BUILDING.

EXT.  LOWER LIGHTHOUSE ROOFTOP - DAY

Frye fires form the roof.  M-16 ROUNDS kick up dirt around Goodspeed. 
Frye curses and head back down the stairs.



EXT.  ALCATRAZ - IN FRONT OF LOWER LIGHTHOUSE - DAY Frye exits and
sprints after Goodspeed. INT.  MAIN CELL HOUSE - STAIRWELL - DAY Mason
come down the stairs.  Suddenly PVT.  COX looms on the stairs below. 
Faces off with Mason.  Cox draw his knife and lunges.  MASON  
catches Cox' wrist.



Cox, with his free hand, hits Mason.  Hard.  MASON recoils.  Counter
punches.  On comes Cox.  He's huge and menacing.  He hits MASON  
again. Again.  Again.  Cox has MASON  backed up to the stairwell. -

INT.  NEW INDUSTRIES BUILDING - DAY

Goodspeed, frantic, sprints across the floor, SPLASHING through puddles.
He loses his footing. falls and slides across the floor, clutching the
guidance chip an,d pear.

He gets to his feet.  LIMPS behind some RUSTY MACHINERY.

FRYE enters.  Sees RIPPLES IN PUDDLES left by Goodspeed. Frye creeps
across the floor.  Following the ripples.

INT.  MAIN CELL HOUSE - STAIRWELL - DAY

Mason's nearly through.  Backed up against the railing.  Cox comes in
again.  WHAM WHAM.  MASON spits blood and teeth. MASON'S moves to
his pocket.  As Cox comes in for the death blow --



MASON  pulls the MOTOR OIL from his picket and sprays it in Cox's eyes. 
The big man is dazed, blinded.  MASON  
steps aside and rams Cox over the
railing.  Cox falls to his death on the floor below.  MASON  
looks down
at him.


MASON  
Snakes hate the stuff.


INT.  NEW INDUSTRIES BUILDING - DAY

Frye creeps close to Goodspeed's hiding place. GOODSPEED 
lunges from
behind the machinery, jamming his fingers into Fryels mouth and ramming
home the POISON PEARL.


GOODSPEED HAMMERS his fist into Fryels JAW.  We hear the glass breaking
in Fryels mouth.  Fryels eyes widen.  GREY SMOKE SPEWS FROM HIS MOUTH
AND NOSTRILS.  His eyes bulge.


GOODSPEED tries to step away.  Frye bearhugs him, pressing his face
close.  Frye open his mouth, spewing forth a CLOUD OF POISON in
Goodspeed's face.


			CAPTAIN FRYE 
		You're comin, with me.


GOODSPEED shoves Frye away.  Frye drops, his body quivering.  Blood
pours form his ears and nose.  Frye spasms in a sickening dance of
death.


GOODSPEED reels away,.  COUGHING.  Dizzy, he falls to his knees.  He's
gassed and knows it.  Desperately, he rips at his PANDLEG.  A SYRINGE
taped to his calf.  ATROPINE.


He pulls it free and hesitates.  A beat, then -- He PLUNGES the long
needle into his chest.  Into his heart.  Depresses the plunger.



EXT.  SKIES OVER SAN FRANCISCO BAY AREA - DAY

-- The F-169, flying north along the California.Coastline, bank right
and dive down onto San Francisco Bay.


INT.  NEW INDUSTRIES BUILDING - DAY

Goodspeed's world slows down.  Is he dying?  He sees IMAGES in SLOW
MOTION He and Carla together his parents moments from his childhood...



Slowly Goodspeed's breathing normalizes.  He gazes up at the dawning
sky.  SEES something shimmering in the distance.  Through the HEAT WAVES
...



THE SOUADRON OF F-16S.



INT.  PIER 39 COMMAND CENTER - DAY

Sanchez, Director Womack, and the F.B.I. TECHNICIANS watch from the
window as --


THE F-16s wing across the Bay toward Alcatraz.

			SANCHEZ  
		May god have mercy gn their souls.



			CARLA 
				(face buried in his hands) 
		You can't do this, you can't let this
		happen.



EXT.  NEW INDUSTRIES BUILDING - DAY

GOODSPEED 
exits and kneels, reaching for HIS OTHER PANTLEG.  PUllS out
his GREEN FLARES.  He cracks the flares and fires them up.



EXT.  SAN FRANCISCO BAY BRIDGE - DAY

The F-16s fly under the span of bridge, just 50 feet off the water,
shooting up a PLUME OF WATER.



EXT.  ALCATRAZ - NEW INDUSTRIES BUILDING - DAY GOODSPEED, in slow
motion, waves the flares.

INT.  LEAD F-16 - COCKPIT - DAY The LEAD F-16 Pilot speaks on this
air-to-air mike.

LEAD F-16 PILOT Arm up.

INT.  PIER 39 - F.B.I. COMMAND CENTER - DAY

CARLA watches the approach of the F-16s on Alcatraz in horror.  Every
second is excruciating.

			F.B.I. TECHNICIAN 
		Ten seconds to the drop zone.  And now counting eight,
		seven, six ...

EXT.  WORLD WAR II BUNKER (SPOTTING POSITION #1) - DAY

A hilltop on the Marin side of the Golden Gate Bridge.  Two spotters
watch the action through SPOTTING SCOPES.  SPOTTER 1 watches the F-16s. 
SPOTTER 2, watching ALCATRAZ, nearly jumps out of his skin.



			F.B.I. TECHNICIAN
		Green smoke!  It's...   GOODSPEED!!



A RADIO OPERATOR fires a message to command.

INT.  PIER 39 ~ F.B.I. COMMAND CENTER - DAY

			SANCHEZ  
		Abort.  Abort immediately.


EXT.  ALCATRAZ - SHORELINE - DAY

On come the F-16s, ROARING over Alcatraz.  They're almost on top of GOODSPEED 
now.  It's too late.  It's all over.



INT.  LEAD F-16 -



-16 - COCKPIT - DAY

			F-16 FLIGHT CONTROLLER 
			 (v.o. cockpit radio) 
		ABORT, RED THUNDER, ABORT!


LEAD F-16 PILOT Abort.  Abort.

THE LEAD F-16 PILOT safeties the bomb release lever. 276 INT.  REAR F-16
- COCKPIT - DAY

The REAR F-16 PILOT is wrestling with his release lever. It's stuck.  He
can't "safety" it.


			REAR F-16 PILOT 
		Sir, something's wrong.  I can't disengage... !


			LEAD F-16 PILOT 
		Then peel off...

EXT.  SKIES OVER ALCATRAZ - DAY

The four F-16s veer away from the island.  But for the REAR JET, the
order came too late ...


EXT.  REAR F-16 - WING UNDERCARRIAGE - DAY


The REAR F-16 releases its Willy Peter canisters.  They plummet to the
island.


EXT.  ALCATRAZ - NEAR NEW INDUSTRIES BUILDING - DAY

The WILLY PETER CANISTERS land, detonating on impact in a MONSTROUS
INFERNAL EXPLOSION.

The awesome concussion knocks GOODSPEED 
off the New Industries Building pier into the bay.



EXT.  UNDERWATER - DAY

Goodspeed, concussed in the water, tries to keep consciousness.  He
can't.  He sinks.


ANOTHER FORM appears above him.  It's MASON, swimming for Goodspeed. 
MASON gets under his arms and pulls him up.



EXT.  ALCATRAZ - SHORELINE - DAY 

MASON drags  GOODSPEED 
ashore. 

283 INT. PIER 39 - COMMAND WAREHOUSE - DAY

Sanchez, Director Womack and the F.B.I. TECHNICIANS stare out the window
at Alcatraz, enshrouded in PLUMES OF SMOKE.



Total silence.  Only CARLA, weeping quietly in the corner.  SANCHEZ  
puts his arm around her.  Ushers her away.  Suddenly a VOICE CRACKLES:



			GOODSPEED 
							      	  (V.O.) 
		Pier 39 come in.  Pier 39  ...
			(freezes) 
		My god he's alive.



Director Womack grabs the mike.

			F.B.I. DIRECTOR WOMACK 
Goodspeed, this is Director Womack. Are the
hostages alive?


			GOODSPEED 
			     (V.O.) 
		Every one of em sir.

			F.B.I. DIRECTOR WOMACK 
		What about Mason?

INT.  ALCATRAZ - CIVIL WAR RUINS - DAY

GOODSPEED stares at Mason, letting the question dangle.


			F.B.I. DIRECTOR WOMACK 
		Goodspeed.  Is Mason-alive?

A pause.  The question still dangling there.  Then:

			GOODSPEED 
			  (deep breath) 
		Just come and get me, sir.  I'm tired.

			SANCHEZ  
		Name your vacation spot, Goodspeed. The Bureau'll pay for it.

GOODSPEED hangs up.  The two men regard each other.

			GOODSPEED 
		Mason, uhm, John, I have something to tell you.  You know that
		pardon contract you signed?

			MASON  
		Womack ripped it up, right?

			GOODSPEED 
		You knew?  All this time?

			MASON  
		I'm not a fool, Billy.

			GOODSPEED 
		All I know is that whatever you did, you don't deserve to go
		back.

			MASON  
		Goodspeed.  You know the etymology of your name?


			GOODSPEED 
		God's speed.

			MASON  
		Yes.  To wish someone a prosperous jouey.


MASON smiles. GOODSPEED 
smiles back.  There is an immediate tacit
understanding.



			MASON  
		And if you turn around I'll tell you a secret.



Goodspeed, confused by this, gives MASON  
a look.  Slowly turns around. Camera doesn't leave him.



			MASON  
			(O.S.) 
		St. Michael's Church, Fort Walton, Kansas.  Front pew. 
		Right leg.  Hollow.

			GOODSPEED 
		What's that? (beat) Mason?

GOODSPEED turns around.  John Paul MASON  is gone.

EXT.  ALCATRAZ - DOCK - DAY
GOODSPEED is standing on the dock.  Sanchez comes down the gangplank.


			SANCHEZ  
		You surprised me, kid.  Never thought you could do it.


			GOODSPEED 
		Neither did I sir.

			F.B.I. DIRECTOR WOMACK 
		Where's Mason?

			GOODSPEED 
		Vaporized, sir.  Blown out to sea.


			GOODSPEED 
		He saved my life, sir. Is SANCHEZ  going to accept this? .

			SANCHEZ  
		Yes 
				(smiles; acknowledges) 
		Poor son-of-a-bitch.



			F.B.I. AGENT 
		Sir, the White House calling.  It's the President.

			F.B.I. DIRECTOR WOMACK 
		I'll take it.

WOMACK elbows past GOODSPEED 
and Sanchez.

			F.B.I. AGENT 
		Uhm, sir, actually it's for Goodspeed.


Womack glares at Goodspeed, who takes the phone.

			GOODSPEED 
		Bill Goodspeed, Mr. President.

			PRESIDENT 
			  (V.O.) 
		I am in your debt, Goodspeed, the country is in your
		debt.  You're a hero, son.

			GOODSPEED 
		Thank you, Mr. President.  The man you should be thanking is
		John Mason.

			PRESIDENT 
			(V.O.) 
		So I've been informed. Would you put the F.B.I.
		Director on please?

			GOODSPEED 
		Director Womack.

GOODSPEED hands the phone to Womack.  Womack looks at the phone.  Slowly
takes it.



			F.B.I. DIRECTOR WOMACK 
		I can explain all of this, sir ...



			PRESIDENT 
			(V.O.) 
		I don't want your explanation, Womack. I want your
		resignation.


Womack grimaces.  Goodspeed, smiling to himself, turns away. CARLA 
races into his arms.  A long, warm embrace.



CUT TO:



EXT.  PACIFIC COAST HIGHWAY - DAY

A jeep motors up the Freeway.  Passing a sign: VANCOUVER 30 MILES.



INT.  JEEP - DRIVING - DAY

MASON and Jade.  Jade driving.  Father smiles.  Daughter smiles back. 

CUT TO:

BEGIN CLOSING CREDITS.  The following plays over:



KANSAS - DAY



EXT.  A ROAD IN FORT WALTON, KANSAS - DAY 

A beat-up PORSCHE SPEEDSTER exits a BAPTIST CHURCH.


INT.  PORSCHE SPEEDSTER - DAY

Carla is driving. GOODSPEED 
next to her.  He opens a WORN PLASTIC CANISTER.  Spools out a REEL OF MICROFILM.

			CARLA 
		Would you please tell me what this is all about... ?


			GOODSPEED 
		You want to know who really killed President Kennedy, honey...?



				 THE END