Actor Point >> Movie Scripts >> True Lies Film Script

True Lies Movie Script

Writer(s) : Claude Zidi, Simon Micha�l, Didier Kaminka, James Cameron

Genres : Action, Adventure, Comedy, Romance, Thriller

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                          T R U E   L I E S

                               WRITTEN

                                 BY

                            JAMES CAMERON


                       -----------------------

          TITLE SEQUENCE

      1   EXT. MOUNTAINS, NEAR GENEVA, SWITZERLAND - NIGHT

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


      2   EXT. CHATEAU - NIGHT

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

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

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

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

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


      4   EXT. CANAL AND BOATHOUSE - NIGHT

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

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

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

                              HARRY
                    Honey, I'm home.


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

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

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

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

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


      6   EXT. BOATHOUSE - NIGHT

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

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

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

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

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


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

                              HARRY
                         (French/ subtitled)
                    This needs more garlic.

          He breezes through unchallenged, exiting into the--


      8   INT. MAIN HALL - NIGHT

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

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

                              HARRY
                    There's Daddy Petrobucks.

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

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


      9   INT. STAIRCASE AND SECOND FLOOR - NIGHT

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


     10   INT. LIBRARY - NIGHT

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


     11   EXT. BALCONIES - NIGHT                                           *

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


     12   INT. KHALED'S OFFICE - NIGHT                                     *

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

                              HARRY
                    Modem in place.  Transmitting...
                    now.

          He pushes a button and a green light comes on.


     13   INT. VAN - NIGHT

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

                              FAISIL
                    Affirmatory.  We are in.                               *

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

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


     14   OMITTED                                                          *


     15   INT. 2ND FLOOR HALLWAY - NIGHT                                   *

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

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

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


     16   INT. MAIN HALL/ STAIRCASE - NIGHT

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

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

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

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

          Harry offers his hand to her.

                              HARRY
                    Renquist.  Harry Renquist.


     17   INT. VAN - NIGHT

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

                              GIB
                    Skinner.  Skinner.  Come on...

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

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


     18   INT. MAIN HALL - NIGHT

          Harry turns back to the fragment of frieze.

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

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

                              HARRY
                         (shameless)
                    I adore it.


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

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


     20   INT. MANSION - NIGHT

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

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

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

                              HARRY
                    Do you dance, Ms. Skinner?

          He steers her toward the dance floor.


     21   INT. VAN - NIGHT

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

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

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


     22   INT. MAIN HALL - NIGHT

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

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

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

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

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

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

                              HARRY
                    I'd like that.


     23   INT. VAN - NIGHT

          Gib can't believe this conversation.

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


     24   EXT. CHATEAU/ FRONT ENTRANCE - NIGHT

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

                              GUARD
                    May I see your invitation, sir?

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

                              HARRY                                        *
                    Here's my invitation.                                  *

          He pushes the button and--                                       *

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


     25   INT. / EXT. VAN - NIGHT

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

                              GIB
                    Aw, shit.  Here we go--


     26   EXT. CHATEAU AND GROUNDS - NIGHT

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

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

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


     27   EXT. PERIMETER WALL/ MOUNTAIN SLOPE - NIGHT

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

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

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

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

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

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

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


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

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

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

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

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

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

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


     29   EXT. MOUNTAIN SLOPE - NIGHT

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

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

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

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

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


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

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

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

                              GIB (OVER)
                    Harry!  Where are you!

                              HARRY
                    In the helicopter.


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

          Gib slides the van around a curve.

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

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

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

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

                              GIB
                    Harry?  HARRY?!

                              HARRY
                    What?

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

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

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

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

                                                      CUT TO:


     32   EXT. DULLES AIRPORT - NIGHT

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


     33   EXT. SUBURBAN D.C. STREET - NIGHT

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


     34   INT. SEDAN - NIGHT

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

                              HARRY
                    Empty.  Go.

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

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

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

                              HARRY
                    What's this for?

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

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

          Harry opens the car door.

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

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

                              HARRY
                    What a team.  See you at eight.

                              GIB
                    Yep.  Sleep fast.


     35   INT. TASKER HOUSE - NIGHT

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

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


     36   INT. MASTER BEDROOM - NIGHT

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

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

                              HARRY
                    Fine, honey.  Stay asleep.

                              HELEN
                    Okay.

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

                                                      DISSOLVE TO:


     37   INT. TASKER HOUSE - DAY (MORNING)

          TIGHT ON SWISS VILLAGE.  It is snowing.

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

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

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

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

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

                              DANA
                    Really lame.

          She plonks is straight in the wastebasket.


     38   INT. HALLWAY/BEDROOM/ BATHROOM - DAY

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

                              HARRY
                    Dana, don't forget to feed Gizmo!                      *

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

                              HARRY
                    I'm late.

                              HELEN
                    Me too.

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

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

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

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

                              HELEN
                         (barely listening)
                    That's fabulous Harry.

                              HARRY
                    Yeah, it was wild.

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


     39   INT. FRONT HALLWAY, LIVING ROOM - DAY

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

                              GIB
                    Come any closer I'll kill you.

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


     40   INT. BATHROOM - DAY

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

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

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

                              HARRY
                    Uh huh.  Okay.

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

                              HARRY
                    What did you tell him?

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

                              HARRY
                    Good thinking, honey.

          Harry kisses her on the cheek and exits.


     41   INT. KITCHEN - DAY

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

                              GIB
                    Hi, kid.

                              DANA
                    Hey, Gib.  What up?

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

                              HARRY
                    Thanks dear.

                              GIB
                    Here, check these out.

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

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

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

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

                              HARRY
                    Son of a bitch!

                              GIB
                    What?

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


     42   EXT. HOUSE - DAY

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

                              HARRY
                    Dana!!

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

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


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

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

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

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

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

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


     44   INT. TEKTEL OFFICES - DAY                                        *

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

                              SECRETARY                                    *
                    Morning, Mr. Tasker.                                   *

                              HARRY                                        *
                    Morning, Charlene.

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

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

                              GIB
                    Fourteen, Harry.

                              HARRY
                    Right.  She's only fourteen.

          They go into a corridor.                                         *

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

                              HARRY
                    No way.  Not Dana.

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

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

                              HARRY
                    Will you just open the door!                           *

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

                              GIB
                    Or drugs.


     45   OMITTED                                                          *


     46   INT. CORRIDOR - DAY

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

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

                              HARRY
                    I thought you moved out.

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

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


     47   INT. OUTER SECURITY ROOM - DAY

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

                              JANICE
                    Gentlemen, please idenitify
                    yourselves to the scanner.

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

                              HARRY
                    Harry Tasker.  One zero zero two
                    four.

                              GIB
                    Albert Gibson.  Three four nine
                    nine one.

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

                              JANICE
                    Thank you.  You are cleared.

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

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

                              JANICE
                    Ten, Mr. Gibson.

                              GIB
                    And you still reach for your
                    piece every time.

                              JANICE
                    Yes sir.

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

                              JANICE
                    Yes, sir.

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

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

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

                              GIB
                    In her dreams.


     48   INT. OMEGA SECTOR INNER SANCTUM - DAY

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

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

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

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

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

          Faisil gulps his coffee and hurries after them.


     49   INT. CONFERENCE ROOM - DAY

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

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

                              HARRY
                    Total is a strong word--

                              GIB
                    There are degrees of totality.

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

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

                              FAISIL
                    Yes.

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

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

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

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

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

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

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

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

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

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

                              HARRY                                        *
                    Not what  you'd call rock hard.                        *

                              GIB                                          *
                    It's pretty limp, actually.                            *

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


     50   INT. OFFICE BUILDING - DAY

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

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

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

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

                              ALLISON
                    I'm shocked.

                              HELEN
                    Yeah.  You know Harry.

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

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

                              HELEN
                    I won't let you down, Brad.

          Brad leaves.

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

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

                              HELEN
                    You bitch.

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

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

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

          They both crack up at that one.


     51   INT. OMEGA SECTOR (DATA CENTER) - DAY                            *

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

                              HARRY
                    What'ya got?

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

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

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

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

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

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

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

                              FAISIL
                    Uh huh.  Right here in river
                    city.

                              HARRY
                    You're kidding.

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

          Gib starts tangoing with an imaginary partner.

                              GIB
                    Sounds like a job for a
                    specialist.


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

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

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

                              HARRY
                    I'll handle it.

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


     53   EXT. DRIVEWAY - NIGHT

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

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

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

                              HARRY
                    You seem fine now.

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

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

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

                              HARRY
                    Dana, are you listening to me?

                              DANA
                    Yeah, Dad.

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

                              DANA
                    Okay, Dad.

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

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

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

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

                                                      CUT TO:


     54   OMITTED                                                          *


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

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

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

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

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


     56   INT. JUNO'S OFFICES - DAY

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

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

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

          Juno lingers a second or so long on the handshake.

                              HARRY
                    Well, what's the point of
                    waiting?

                              JUNO
                    I agree.

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

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

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

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

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

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

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

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

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

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

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

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

                                                      CUT TO:


     57   INT. HOTEL SUITE - DAY

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

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

                              GIB
                    She could be moving money, guns.
                    Anything.

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

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


     58   INT. JUNO'S WAREHOUSE - DAY

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

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

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


     59   INT. JUNO'S OFFICE - DAY

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

                              MALIK
                    You stupid undisciplined bitch!

          Her jaw clenches but her reaction is surprisingly submissive.

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

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

                              JUNO
                    No.  He checked out okay--

          Malik slaps her again.

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

          Juno bites her lip.

                              JUNO
                    What do you want me to do?

                              MALIK
                    Find out who this Renquist it.

                              JUNO
                    How?

                              MALIK
                    Use the gifts that Allah has
                    given you.


     60   INT. TEKTEL SYSTEMS OFFICES - DUSK                               *

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

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


     61   INT. TASKER HOUSE - DUSK

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

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


     62   INT. TEKTEL OFFICES - DUSK

          Charlene doesn't hesitate a microsecond.

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

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


     63   INT. SUITE AT THE MARQUIS - DUSK

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

                              GIB
                    It's Helen.                                            *

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

                              HARRY
                    Hi honey.  What's going on?                            *

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

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

          RING.  Harry raises an eyebrow as he answers.

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

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

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

                              GIB
                    Yeah, right.


     64   INT. JUNO'S WORKSHOP - NIGHT

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

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

                              HARRY
                    Hello?

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

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

                              JUNO
                    Hello, Harry.

          Harry whips around, startled.

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

                              HARRY
                    It's certainly... dramatic.

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

                              HARRY
                    Is that why you got into this
                    business?

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

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

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

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

                              JUNO
                    Yes, I do.


     65   INT. GIB'S CAR - NIGHT

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

                              GIB
                    Harry, this is your conscience
                    speaking...


     66   INT. TOMB - NIGHT

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

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

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

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

          She crosses to Harry.

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

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

                              JUNO
                    Getting what you want is the only
                    important thing.

          She kisses him, very lightly, with infinite sensuality.


     67   INT. GIB'S CAR - NIGHT

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


     68   INT. TOMB - NIGHT

          Harry breaks the kiss... slowly pulling back.

                              HARRY
                    Yes.

                              JUNO
                    Yes what?

                              HARRY
                    Uh, yes, it is important.

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

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


     69   INT. GIB'S CAR - NIGHT

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


     70   INT. TASKER HOUSE - NIGHT

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

                              DANA
                    See.


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

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

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

          Harry adjusts the passenger side mirror.

                              HARRY
                    Station wagon?

                              GIB
                    Uh huh.  Want me to lose them?

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

                              UNIT SEVEN (FAISIL)                          *
                    Seven here.

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

                              SEVEN
                    Copy that.  We're rolling.

                              GIB
                    Helen's going to be pissed.

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


     72   INT.  STATION WAGON - NIGHT

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

     
     73   OMITTED                                                          *


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

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

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

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


     75   EXT. MALL - NIGHT

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

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

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

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

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

                              GIB (VO)
                    What's the plan?

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


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

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

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

                              HARRY
                         (on radio)
                    Stay on him.

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


     77   EXT. MALL - NIGHT

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


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

          Gib in on the cellular phone.

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

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


     79   INT. HARRY'S HOUSE - NIGHT

          She sighs fatalistically.

                              HELEN
                    Yeah, Gib.  I know Harry.

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

                              HELEN
                    Where are you going?

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

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

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

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

                              HELEN
                    That's not true, honey--

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

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

                              HELEN
                    Dana!  Come back here!

          The slamming door is her answer.


     80   EXT. MALL - MEN'S ROOM - NIGHT

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


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

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

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


     82   INT. RESTROOM - NIGHT

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

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

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

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

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

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

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

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

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

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


     83   EXT. MALL - NIGHT

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

                              GIB
                    Harry?  Harry, you copy?!  Shit!


     84   INT. RESTROOM - NIGHT

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

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

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

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

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

                              HARRY
                         (to the old guy)
                    Sorry.


     85   EXT. MALL - NIGHT

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

                              GIB (OFF)
                    FREEZE!!!

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

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

                              GIB
                    WRONG!  THIS IS NOT GOOD!

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

                              HARRY
                    Get back to the car!

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


     86   EXT. STREET - NIGHT

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

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


     87   EXT. PARK - NIGHT

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

                              HARRY
                    Federal Officer in pursuit of
                    suspect!  Sorry.

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

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

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


     88   EXT. STREET - NEAR MALL - NIGHT

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

                              GIB
                    Harry, what's your twenty?


     89   EXT. PARK/ STREETS - NIGHT

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

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

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

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


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

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

                              GIB
                    Copy that.

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

          ON GIB, mouthing "Your horse?"


     91   EXT. STREET - NEXT TO PARK - NIGHT

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


     92   EXT. STREET/ HYATT REGENCY HOTEL - NIGHT

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

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

          HARRY ducks, galloping through the doors after him.


     93   INT. HOTEL - NIGHT

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

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


     94   INT. HOTEL RESTAURANT - NIGHT

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


     95   INT. HOTEL - MAIN HALL - NIGHT

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

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


     96   INT. SCENIC ELEVATOR - NIGHT

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

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

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

                              HARRY
                    Can you just press the top floor,
                    please.

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


     97   INT. HOTEL LOBBY - NIGHT

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

                              GIB
                    The guy on the horse?!

          The porter points at the elevators.


     98   INT. / EXT. SCENIC ELEVATORS - NIGHT

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

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


     99   INT. /EXT. ROOFTOP - NIGHT                                       *

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

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

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

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

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

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

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

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

                              HARRY
                    What kind of  cop are you?


    100   INT. TASKER HOUSE - NIGHT

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

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

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

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

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

                              HELEN
                    Yeah.  It was great.

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

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

          She grins and arches one eyebrow meaningfully.


    101   INT. BEDROOM / BATHROOM - NIGHT

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

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

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

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

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

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

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

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

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

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

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

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

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

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

                              HARRY
                         (faintly)
                    Uh huh.

                              HELEN
                    My husband the hero.

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

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

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

                              HELEN
                    Just a second.

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

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

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

                              HELEN
                    Happy Birthday, Harry.

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

                                                      CUT TO:


    102   EXT. STREET/ NEAR HIGH-SCHOOL - DAY

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

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

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

                              HARRY
                         (not listening)
                    Okay.  Here she comes.


    103   EXT. STREET - DAY

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


    104   INT. HARRY'S CAR - DAY

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

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

                              GIB
                    Goddammit!  That's outrageous.

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


    105   EXT. MOTORCYCLE - DAY

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

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

                              TRENT
                    Hang on!

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


    106   INT. HARRY'S CAR - DAY

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

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


    107   EXT. MOTORCYCLE

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


    108   INT. HARRY'S CAR - DAY

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

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

                              HARRY
                    Son of a bitch!

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

                                                      CUT TO:


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

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


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

          A defiant looking Syrian with a full beard.

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

                              HARRY
                    That's him.


    111   INT. CONFERENCE ROOM - DAY

          Harry slaps photos down in front of Trilby.

                              HARRY
                    Abu Kaleem Malik.

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

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

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

                              FAISIL
                    They call him "The Sand Spider".                       *

                              TRILBY
                    Why?

                              FAISIL
                         (he shrugs)
                    Probably because it sounds scary.                      *

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

                              HARRY
                    We'll get him.

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

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


    112   EXT. HELEN'S OFFICE BUILDING - DAY

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

                              GIB
                    What's going on?

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

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

                              GIB
                    You want me to just hang-- ?

                              HARRY
                    Just hang a minute.

                              GIB
                    I'll just hang then, shall I?


    113   INT. OFFICE BUILDING - DAY

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

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

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

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


    114   INT. HELEN'S OFFICE - DAY

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

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

                              HELEN
                    Simon?  Ohmygod.

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

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

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


    115   INT. OFFICE - STACKS OF RECORDS - DAY

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


    116   INT. HELEN'S OFFICE - DAY

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

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

                              HELEN
                    Can you cover me for an hour?

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

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

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


    117   EXT. BUILDING - DAY

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

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

          Harry leans against the car for support.

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

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

                              HARRY
                    She's having an affair.

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

                              GIB
                    Congratulations.  Welcome to the
                    club.

                              HARRY
                    It can't be.  Not Helen.

                              GIB
                    Nobody believes it can happen to
                    them.

                              HARRY
                    It can't be.

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

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

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

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

                              HARRY
                    STOP.  CHEERING.  ME.  UP.

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

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

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

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

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

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


    118   INT. OMEGA SECTOR / LISTENING ROOM - DAY

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

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

          He notices Harry is not listening.

                              GIB
                    Is this national security stuff
                    boring you?

                              HARRY
                    Put a tap on her phone.

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

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

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

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

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

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

                              GIB
                    Sure, Harry.  I'm on it.

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


    119   INT. TASKER HOUSE - NIGHT

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

                              HARRY
                    How was school today?

                              DANA
                    Fine.

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

                              HELEN
                    So.  You came by to see me today?

          She is a too casual, masking her nervousness.

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

                              HELEN
                    They must've just missed me.

                              HARRY
                    They said you had to run out.

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

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

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

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

                              DANA
                    I'm done.

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

                                                      CUT TO:


    120   INT. OMEGA SECTOR/ LISTENING ROOM - DAY

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

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

                              HELEN
                    Hello?

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

                              HELEN
                    Yes.  Go ahead.


    121   INT. CAR - FLASHBACK SEQUENCE - DAY

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

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


    122   INT. HELEN'S OFFICE - DAY

          NOW WE SEE HELEN, at her office.

                              HELEN
                    Yes.  I suppose so.  Where?

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


    123   INT. LISTENING ROOM - DAY

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


    124   INT. TASKER HOUSE - NIGHT

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

                              HARRY
                    I thought we might have lunch
                    tomorrow.

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

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

                              HARRY
                    No problem.

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

    125   OMITTED                                                          *


    126   EXT. TASKER HOUSE - NIGHT                                        *

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


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

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

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

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

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

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

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

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


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

          Harry drives while Gib watches--


    132   INT. SEDAN, CLOSE UP ON MAP - DAY

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


    133   INT. / EXT. SEDAN - DAY

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

          Harry makes the turn.

                              HARRY
                    There she is.


    134   EXT. PARKING LOT - DAY

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


    135   EXT. HELEN'S CAR THROUGH BINOCULARS - DAY

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


    136   INT. SEDAN - DAY

                              HARRY
                    Give me audio.

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


    137   INT. CAFE - DAY

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

                              SIMON
                    Are you sure you weren't
                    followed?

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

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

                              HELEN
                    I understand.

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

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

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

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

                              HELEN
                    Worse than Cairo?                                      *

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


    138   INT. SEDAN - DAY

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

                              GIB
                    Guy's a spook!

                              HARRY
                    Yeah, but for who?                                     *

                              GIB
                    He could be working her to get to
                    you.

          Harry waves his hand, silencing Gib.

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


    139   INT. CAFE - DAY

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

                              SIMON
                    Did you read the papers
                    yesterday?

                              HELEN
                    Yes.

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


    140   INT. SEDAN - DAY

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


    141   INT. CAFE - DAY

                              HELEN
                    That was you?!

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


    142   INT. SEDAN - DAY

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

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


    143   INT. CAFE - DAY

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

                              HELEN
                    Tell me what happened?

                              SIMON
                    I'm sorry, I can't.

                              HELEN
                    You can trust me completely.

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

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

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


    144   INT. SEDAN - DAY

          HARRY REACTS to the outrageous fabrication.

                              GIB
                    Unbelievable.


    145   INT. CAFE - DAY

          BUT HELEN is eating it up.

                              HELEN
                    Were they trying to kill you?                          *

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

                              HELEN
                    And you chased one?

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

                              HELEN                                        *
                    You can't?                                             *

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


    146   INT. SEDAN - DAY

          HARRY AND GIB guffaw.  This is too much.

                              GIB                                          *
                    I'm starting to like this guy.                         *

          Harry shoot him a hard look.                                     *

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


    147   INT. CAFE - DAY

          BACK TO HELEN AND SIMON as she leans even closer.

                              HELEN
                    What is it you want me to do?

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

                              HELEN
                    You'll call me then?

                              SIMON
                    Yes.  Now go.

    148
   thru   OMITTED                                                          *
    155

          PAGES 66-67 OMITTED                                              *

    156   EXT. STREET/CAR LOT - DAY

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


    157   EXT. USED CAR LOT - DAY

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

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


    158   EXT. ACROSS THE STREET FROM CAR LOT - DAY

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

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

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


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

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

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

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

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

          HARRY, browsing among the cars.

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

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

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

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


    160   EXT. CAR LOT - DAY

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

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

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

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


    161   EXT. STREET - DAY

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

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

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

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

                              HARRY
                    Absolutely.

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

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

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

                              HARRY
                    Keep talking.

                                                      CUT TO:


    162   EXT. TACO STAND - DAY

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

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

                              HARRY
                    And you've got one.

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

                              HARRY
                    So what's your angle?

                              SIMON
                    Sorry.  Trade secret.

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

          Simon leans forward, conspiratorially.

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

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

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

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

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

                              HARRY
                    Use 'em and lose 'em.

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

                              HARRY
                    What about the husbands?

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

                              HARRY
                    Those idiots.


    163   EXT. STREET/ VETTE - DAY

          They are cruising along, with Harry driving this time.

                              HARRY
                    You working on someone right now?

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

          Unconsciously, Harry's hands clench the wheel tighter.

                              HARRY
                    What does she do?

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

          Harry takes a corner too fast.  The tires squealing.

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

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

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

                              SIMON
                    Red hot.  Her thighs steam.

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

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

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


    164   EXT. USED CAR LOT - DAY

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

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

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

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

          Simon grins and winks.

                              SIMON
                    Because it's you.


    165   INT. TASKER HOUSE - NIGHT

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

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

                              DANA
                    Where are you going?

                              HELEN
                    Out.

          Dana is momentarily puzzled by the reversal of roles.


    166   INT. ENTRY WAY - NIGHT

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

    167   OMITTED


    168   INT. / EXT. SEDAN - NIGHT

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

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

                              SIMON
                    Nothing from Simon?

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

                              HARRY
                    Give me the page.

                              GIB
                    What are you talking about?

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

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

                              HARRY
                    GIVE ME THE GODDAMN PAGE!!

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

                              GIB
                         (shrugging)
                    Okay.  Here.

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

                              GIB
                    Jeez, Harry.  Seek help.

          As Harry begins to read, we go into FLASHBACK.


    169   INT. USED CAR LOT OFFICE - DAY/FLASHBACK

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

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

          INTERCUT WITH HELEN at her office.


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

                              HELEN
                    What's happened?

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


    171   INT./ EXT. SEDAN - NIGHT

          BACK TO THE PRESENT.  Harry checks his watch.                    *

                              HARRY
                    Shit!  It's almost eight.                              *

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

                              HARRY
                    She's still at my house.                               *

                              GIB
                    The purse is still at the house.


    172   INT. SEDAN - NIGHT

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

                              HARRY
                    Unit Two?  Unit Seven?


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

                              FAISIL
                    Seven here.


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

                              UNIT TWO
                    This is Two.


   172C   INT. SEDAN - NIGHT                                               *

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

                              FAISIL
                    Roger, One.  Rolling.

                              UNIT TWO
                    Copy that.

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

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

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

                              HARRY
                    Whatya going to do?   Tell?

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

                              HARRY
                    You tell on me, I tell on you.

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

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

                              GIB
                         (instantly contrite)
                    You know about that?

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

                              GIB
                    Take Franklin, it's quicker.

          Harry makes the turn, squealing tires.

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


    173   EXT. BRIDGE - NIGHT

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

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


    174   EXT. PARKING LOT - THROUGH BINOCULARS - NIGHT

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


    175   INT. UNIT TWO SEDAN - NIGHT

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

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

                              HARRY (RADIO)
                    Roger's two.


   175A   INT./EXT. SIMON'S CAR

          Simon makes a show of checking the mirrors.

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

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


    176   INT. HARRY'S CAR - NIGHT

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

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

          Harry is doing a jaw-clenched slow burn.

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

    177
   thru   OMITTED
    183

    184   EXT. HIGHWAY LEAVING CITY - NIGHT

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

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

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


    185   OMITTED

       PAGES 79 - 80 OMITTED


       EXT. HELICOPTER - AERIAL SHOT - NIGHT                          186

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


       OMITTED (187)                                                  187


       EXT. TRAILER PARK - NIGHT                                      188

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

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

       He takes her inside.


       OMITTED (189)                                                  189


       INT. SIMON'S TRAILER - NIGHT                                   190

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

                           SIMON
                 To our assignment.

                           HELEN
                 What is it you need me to do?

                              SIMON
                    Helen, I want you to be my wife.

                              HELEN
                    I'm married!

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

                              HELEN
                    We're going to Paris?

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

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

                              SIMON
                    Here.  Sit down.  Be comfortable.

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


    191   EXT. BILLBOARD AND TRAILER PARK - NIGHT

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


    192   INT. TRAILER - NIGHT

          Helen looks up at Simon and nods slowly.

                              HELEN
                    Okay.  I'll do it.

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

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

          He moves a little closer.  Casting his spell.

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

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

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

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

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

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

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

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

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

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

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

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

                              SIMON
                    If not for me, do it for
                    democracy.


    193   INT. / EXT. TRAILER - NIGHT

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


    194   INT. TRAILER - HARRY'S POV - NIGHT

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


    195   INT. TRAILER - ON SIMON - NIGHT

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


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

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


    197   EXT. TRAILER - NIGHT

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

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

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

                                                      CUT TO:


    198   INT. INTERROGATION ROOM/OBSERVATION CHAMBER - NIGHT

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

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


    199   INT. OBSERVATION ROOM - NIGHT

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

                              HARRY
                    Sit down.


    200   INT. INTERROGATION ROOM - NIGHT

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

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

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

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

                              HELEN
                    He said he was an American agent.


    201   INT. OBSERVATION ROOM - NIGHT

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

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

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

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

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

                              HARRY
                    How did you meet him?

          FLASHBACK SEQUENCE:


    202   INT. MALL - DAY/FLASHBACK

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

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

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

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

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


    203   EXT. BUSINESS DISTRICT - DAY/FLASHBACK

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


    204   INT. HELEN'S OFFICE - DAY/FLASHBACK

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

          TIGHT ON SECOND LOCK, popping open.

          ON HELEN as she opens the case.  She gasps.

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


    205   INT. INTERROGATION ROOM - NIGHT / PRESENT

          Helen shrugs, finishing up her story.

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

                              GIB
                    But you didn't.  Why not?

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

                              HARRY
                    What did happen?

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


    206   EXT. OVERLOOK PARK - SUNSET/FLASHBACK

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

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

                              HELEN
                    Helen.

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

                              HELEN
                    I just glances inside.


    207   EXT. OVERLOOK PARK - CLOSE UP ON SIMON

          CLOSE ON SIMON, looking right into her eyes.

                              SIMON
                         (solemn)
                    Then you know.


    208   INT. INTERROGATION ROOM - NIGHT / PRESENT

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

                              HARRY
                    Why did you continue to see him?

                              HELEN
                    He needed my help.

                              HARRY
                    Not because you were attracted to
                    him?

                              HELEN
                    No.

                              HARRY
                    You weren't attracted to him at
                    all?

                              HELEN
                    Well, maybe a little.

                              GIB
                    Is this a common thing for you?
                    Cheating?

                              HELEN
                    No!  Never!

                              GIB
                    So, it was your first time.

                              HELEN
                    I wasn't cheating!

                              HARRY
                    Tell me about your husband, Mrs
                    Tasker.

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

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

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

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

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

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

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

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

                              HELEN
                    My husband is a good man.

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

          Harry covers the mike and whips around on Gib.

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

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

                              HARRY
                    And you agreed?

                              HELEN
                    Yes.

                              HARRY
                         (amazed)
                    Why?

          Helen searches herself for the explanation.

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

                              HARRY
                    What did you need?

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

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

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

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

                              HARRY
                    This Simon.  Did you sleep with
                    him?

                              HELEN
                    No.

                              GIB
                         (covering the mike)
                    She's lying.

                              HARRY
                    You didn't have sexual relations
                    with him?

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

                              GIB
                    You're not going anywhere.

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

                              HELEN
                    Let me out of her!  Right now!

                              HARRY
                    Answer the question--

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

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

          WHAM!  She hits the mirror again.

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

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


    209   INT. OBSERVATION ROOM - NIGHT

          INSIDE THE OBSERVATION ROOM Harry and Gib jump back.

                              GIB
                    She could be telling the truth.

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

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

                              HELEN
                    What?

                              HARRY
                    Do you still love your husband?

                              HELEN
                         (softly)
                    Yes.

                              HARRY
                    Louder please.

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


    210   INT. OBSERVATION ROOM - NIGHT

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

                              GIB
                    Now what?

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

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

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

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

                              HARRY
                    Yes or no.

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

                              HARRY
                    You will be contacted with the
                    assignment.

                              HELEN
                    My husband can't know about this.

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

                              HELEN
                    I think so.

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

                              HELEN
                         (fearless)
                    I can do it!

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

                              HELEN
                         (excited)
                    Natasha?

                              HARRY
                    No.  Doris.


    211   INT. INTERROGATION ROOM - NIGHT

          ON HELEN, not liking her wimpy code-name.


    212   EXT. BRIDGE - NIGHT

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


    213   EXT. ROCK QUARRY - NIGHT

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

                              SIMON
                    Yeeaoowww!!

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

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

          Harry whips off his ski-mask.

                              SIMON
                    -- face.  Shit!  Shit!!

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

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

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

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

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

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

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

                              HARRY
                    Beat it.

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

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

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

                              GIB
                    Take off, dipshit!

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

                                                      CUT TO:


    214   INT./ EXT. SEDAN - DAY

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

                              HARRY
                    We should pick up visual at the
                    next light.

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

                              HARRY
                    Morning, boss.


    215   INT. OMEGA SECTOR - DAY

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

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


    216   INT./EXT. SEDAN - DAY

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

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

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

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

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

          THE CAMERA PUSHES IN ominously on Spencer Trilby.

                              TRILBY
                    Harry?  You know we never fire
                    anybody.

          Click.  Harry hangs up the phone slowly.

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

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


    217   EXT. WAREHOUSE - DAY

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


    218   INT. WAREHOUSE - DAY

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

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


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

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


    220   INT. WAREHOUSE - STAGE - DAY

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

                              FIGURE
                    You! Come with me.

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

                              DANA
                    Oh my Gooooood.


    221   EXT. WAREHOUSE - DAY

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

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

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

                              DANA
                    Yeah, right.

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

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

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

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

          She looks up at him, puzzled?

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

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

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

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

                              HARRY
                    Dana, regarding this singing--

          She pulls back, suddenly wary.  Oh shit.

                              HARRY
                         (grinning)
                    You were pretty good.


    222   INT. / EXT. SEDAN - DAY

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

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

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

                              DANA
                    Dad, how come you know the words?

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

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


    223   INT. TASKER HOUSE - NIGHT

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

                              DANA
                    I'm done.

                              HELEN
                    Where are you off to young lady?

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

          Helen watches her go.  That's strange.

                              HARRY
                    So last night was pretty
                    exciting, huh?

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

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

                              HELEN
                    Hello?

                              METALLIC VOICE
                    Doris?

                              HELEN
                    Oh.  Yes?


    224   INT. OMEGA SECTOR - NIGHT

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

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


    225   INT. TASKER HOUSE - NIGHT

          BACK ON HELEN as she reacts to that.

                              HELEN
                    What?

                              VOICE
                    Get going!
                         (CLICK)

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

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

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

                              HARRY
                    Sure, hon.

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


    226   INT. OMEGA SECTOR/ ELECTRONIC LAB -- NIGHT

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

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

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

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

                              GIB
                    Not quite.


    227   INT. OMEGA SECTOR - INSIDE THE BOOTH - NIGHT

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

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


    228   OMITTED                                                          *


    229   INT. HOTEL MARQUIS - NIGHT

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


    230   INT. HOTEL - FRONT DESK - NIGHT

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

                              HELEN
                    Do you have an envelope for
                    Doris?

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


    231   INT. HOTEL LOBBY - NIGHT

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

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

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

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


    232   INT. HOTEL/ TENTH FLOOR - NIGHT

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

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

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


    233   INT. SUITE - NIGHT

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

                              VOICE
                    In here.

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

                              MAN
                    Step into the light.

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

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

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

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

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

          PAUSE button.  She starts to yank the zipper down.               *

                              HARRY (TAPE)
                    No no.  Do it slowly.  Very
                    slowly.

          Helen turns her back to him, and draws the zipper down           *
          languorously, revealing her creamy back.  She is not wearing a   *
          bra.                                                             *

                              HARRY (TAPE)
                    Now slip the dress down...                             *
                    slowly.

          Helen is starting to get into the ritual.  She lets the dress    *
          slip off her shoulders.  It slides down her body to the floor.   *
          She steps out of it, still in high heels.                        *

                              HARRY (TAPE)
                    Now slide the nylons off one by
                    one.

                              HELEN
                         (puzzled)
                    I'm not wearing any.

          Harry winces.  He starts the next line immediately.

                              HARRY (TAPE)
                    That's good.  Now the panties.                         *

          The ritual continues as she strips slowly (this will be
          tastefully done).  She conceals the bugging device in her hand
          as she sets her clothes on the bed near the phone.  Helen is
          still concentrating on her mission.

                              HARRY (TAPE)
                    Now turn, cheri, in the
                    moonlight.  Let your body flow
                    like water.

          She turns.  Her skin is beautiful in the silvery light.

                              HARRY (TAPE)
                    Now dance for me.  Go on.

          Helen has no idea what to do, but she improvises quite well.
          The scrutiny of the shadowed man, who is fully clothed, and her
          raw vulnerability are a quiveringly powerful erotic
          combination.

                              HARRY (TAPE)
                    Let your hands be a lover's hands
                    on your own skin as you move.
                    Yes, that's it.

          TIGHT ON Harry's eyes as he studies her.  His game, meant to
          give her a dangerous fantasy, is actually turning him on
          mightily.  He is amazed to see her playing the role, getting
          into it.  This is not the Helen is thought he knew for sixteen
          years.

                              HARRY (TAPE)
                    Now, lie on the bed and close
                    your eyes.

          She does.  Harry rises and goes to her, bringing the tape deck.

                              HARRY (TAPE)
                    Keep them closed.  Do not open
                    them.

          He sits on the bed, next to her, but without touching her.  He
          strokes her hair, lovingly.  Then runs his fingertips over her
          eyes, down her cheeks.  To her it feels delicate and delicious.
          Part of her is enjoying this a lot.  But Helen is torn between
          wanting to flee and knowing that nothing the man has done so
          far is enough to cause her to abort her mission.

                              HELEN
                    I thought you only liked to
                    watch.

          Harry goes SSSHHH.  It's all he can do.  He bends over her and
          brings his lips slowly down to her.  He touches them to hers so
          slowly that she barely knows he is kissing her.  Then he takes
          her in a passionate kiss.

          And she grabs the lamp on the bedside table and SMASHES IT OVER
          HIS HEAD.  Harry flies off onto the floor, groaning and
          semiconscious.

          Helen flips on the light and grabs her clothes, starting to
          dress rapidly.  She still doesn't recognize Harry, who is face
          down.  He groans and starts to rise.  She kicks him in the ribs
          and finishes putting her dress on.  She sticks the bug under
          the night table and grabs her shoes.  Mission accomplished,
          motherfuckers.

          Harry grabs her ankle.  She raises one shoe to kosh him again,
          and sees who it is.  Freezeframe.  Total shock.  She can't even
          form the question.

                              HELEN
                    Harry-- ?!


    234   INT. SUITE DOOR - NIGHT

          CRASH!!  The door lock is shattered by tremendous force and
          THREE MEN burst into the room.  We may recognize them as
          workers from Juno's shop.  They are wielding pistols and are
          clearly part of Malik's terrorist brigade.

          Harry is still groggy, and he doesn't want to start anything
          with Helen there, and risk her getting shot.  He acquiesces as
          they pull him to his feet.

                              HELEN
                    He's got nothing to do with this.
                    It's me you want, right?

                              HARRY
                         (to lead TERRORIST)
                    Let the hooker go.  She's not
                    important.

                              HELEN
                    Harry, be quiet.  Let me handle
                    this.

                              LEAD TERRORIST
                    Shutup, both of you.

          During this exchange, the thugs have handcuffed Harry's hands
          behind his back.  The leader gestures to one of the men to
          bring Helen along.  Helen and Harry are dragged roughly out of
          the room with pistol-muzzles stuck in their ribs.


    235   INT. STAIRWELL - NIGHT

          The door from the corridor bangs open and the thugs hustle
          Harry and Helen down the fire-escape stairs.

                              HELEN
                    Listen, you don't need him, he's
                    nothing.  He's a sales rep for a
                    computer company, really--

          The thug leader cuffs her across the head to shut her up.

                              HELEN
                    That was unnecessary.


    236   INT. HOTEL BASEMENT - NIGHT                                      *

          A stairwell door opens and the terrorists rush Harry and Helen   *
          through the basement labyrinth.                                  *

                              HELEN
                    What were you doing there?

                              HARRY
                    You wouldn't believe me.

          A pistol muzzle is jammed hard behind Helen's ear.

                              TERRORIST LEADER
                    Talk again, I kill you.

          They are hustled across a loading dock to a RENTAL VAN waiting   *
          with the door open.  A fourth terrorist slides the van door      *
          shut after they get in and gets in behind the wheel.  The van    *
          takes off.

                                                      CUT TO:              *

    237   OMITTED                                                          *


    238   EXT. AIRPORT - NIGHT

          The rental van pulls up to a G-3 JET warming up outside a
          private hanger.  The van doors open and the hostages are
          brought out.  Harry sees a long black LIMO pulling up behind
          the van.  The driver, an enormous man names AKBAR, hurries to
          open the passenger door.  A slender pair of ankles emerge,
          followed by the rest of Juno Skinner, looking devastatingly
          beautiful but now quite sinister.

          To Helen it is like a living James Bond film, with the jet, the
          limo, the terrorists, and now an exotic femme fatale, dressed
          to kill, approaching them.

                              JUNO
                         (with a wry smile)
                    Hello, Harry.

                              HARRY
                    Juno.  I wish I could say it's a
                    pleasure to see you again.

                              HELEN
                    You know her?

          Juno signals with her eyes and the terrorists march the
          prisoners toward the plane.

                              JUNO
                    Who's your little friend?

                              HELEN
                    I'm Helen Tasker.  Harry's my
                    husband.  And you are?

                              JUNO
                         (to Harry)
                    So now it's Tasker?  Not
                    Renquist?


    239   INT. G-3 JET - NIGHT

          They enter the luxurious passenger cabin of the plane.  Helen
          has never seen anything like this.

                              HELEN
                    Look, Harry's not part of this.
                    He's just a sales rep.

                              JUNO
                    No, my dear, he is a federal
                    agent.  He killed two of my
                    colleagues the other night.

                              HELEN
                    No, you don't understand, we've
                    been married for 15 years--

                              HARRY
                    Look, Juno, this is just some
                    whacko hooker I met in the bar.

          AKBAR and the other terrorists push Helen and Harry into seats
          and strap them in.

                              HELEN
                    Harry, what's the matter with
                    you?  Tell them the truth.  We're
                    married, we have a daughter--

                              HARRY
                         (looking at Helen
                          contemptuously)
                    I don't know what this crazy
                    bitch is on.  You should just cut
                    her loose, so we can get down to
                    business.

                              HELEN
                    Oh yeah?  Oh yeah?  Then where
                    did I get this?

          Helen grabs the locket, dangling on a chain around her neck,
          and opens it to show Juno.

          THE PICTURE IN THE LOCKET -- Harry and Helen together, smiling.

          Harry roles his eyes.  Great, Helen.  A FLIGHT HOSTESS walks up
          carrying a tray.  Juno smiles graciously at Helen.

                              JUNO
                    Something before take-off?

          The hostess whips a PNEUMATIC INJECTOR off the tray and zaps
          Helen in the shoulder.

                              HELEN
                    Oooowww!!  That hurt.  You biii--

          She slumps.  Juno looks at Harry.

                              JUNO
                    She was telling the truth, wasn't
                    she Harry?  She really doesn't
                    know.  Interesting.

          Juno nods and the hostess zaps Harry.  He slides into
          unconsciousness as the plane engines begin to SCREAM.


    240   EXT. AIRPORT - NIGHT

          The G-3 lifts into the night sky, turning south.


    241   EXT. PIER - NIGHT

          A small FREIGHTER is tied up to a half-crumbling pier.  Next to
          the pier is a dilapidated corrugated-metal warehouse building,
          two stories high.  There are floodlights on the dock but beyond
          is black night, with the ghostly shapes of mangroves and palms.
          It is an abandoned facility on what appears to be a tiny island
          in the Caribbean.

          There is a lot of activity.  Three U-RENT TRUCKS are parked by
          the warehouse, as well as some other vehicles.  About thirty
          men, clearly CRIMSON JIHAD TERRORISTS are busy at various
          activities.  Many of them carry AK47 assault rifles.

          MALIK is supervizing them as they finish unloading a tarp-
          covered object about 15 feet high from the ship.  A rusting
          gantry crane trundles it into the warehouse.  Malik looks up as
          an AEROSPATIALE HELICOPTER thunders toward them over the black
          Caribbean water.

          The helicopter lands and Juno steps down from the front door.
          The sliding door is opened and Akbar and the others pull a
          groggy Harry and Helen out of the aircraft.  They are covered
          by hoods.

          Malik walks up to them and pulls their hoods off.  Harry takes
          in his surroundings and looks back into the eyes of Malik.
          Lethal energy flows between them.

                              MALIK
                    Who is this woman?

                              JUNO
                    His wife.

                              MALIK
                         (seeing the
                          possibilities)
                    His wife?  Good.  Bring them.


    242   INT. WAREHOUSE - NIGHT

          Malik leads the entourage into the warehouse, where brilliant
          floodlights illuminate--

          THREE HUGE STONE FIGURES, lined up in the middle of the space.
          The tarp is removes from the object they just unloaded,
          revealing a FOURTH STATUE.  The figures are cracked and
          obscured by centuries, but they are unmistakably warriors
          mounted on horseback.  The legs and arms are missing on some,
          but the massive heads and necks remain.

                              JUNO
                    Incredible, aren't they?  Warrior
                    figures from the Persian Empire
                    of Darius the First, around 500
                    BC.  I call them "The Four
                    Horsemen".

          She approaches the nearest figure, caressing its flank.  A man
          with a jackhammer steps up to her.

                              JUNO
                    They're absolutely priceless.

          She shrugs and nods to the man with the jackhammer.  He blasts
          right into the body of one of the Horseman, destroying it.
          Stone fragments fall away, revealing a cavity cut with great
          precision inside the figure.

          Inside is a BRIGHT METAL CONTAINER.  Four terrorists pull it
          out and set it on the ground.  It is six feet long and coffin-
          like.  Malik steps up to it, his eyes glistening.  A hush has
          fallen over the group.

                              MALIK
                    Open it.

          The latches are released and the lid lifted.  Inside is
          machined metal object, roughly conical, about five feet long.
          Malik signals to Harry to step closer and look.

                              MALIK
                    Do you know what this is?

                              HARRY
                    Can you give me a clue?  It could
                    be a water heater for all I know.

          Malik grabs Helen, jerking her roughly forward.  He whips out
          a knife and inserts the point under Helen's jaw, forcing her
          head back and drawing blood.

                              MALIK
                    Do you know why you have been
                    brought here?

                              HELEN
                    N-no.

                              MALIK
                    So that this man can verify to
                    the world that Crimson Jihad is
                    now a nuclear power.

                              HELEN
                    How can Harry do that?  He's a
                    salesman for chrissakes.

                              MALIK
                    If we were wrong about him...
                    then the last thing you see will
                    be your blood spraying in his
                    face.

          Harry steps forward, his face grim.

                              HARRY
                    This is a Soviet MIRV-Six, from
                    an SS-22N launch vehicle.  The
                    warhead contains 14.5 kilos of
                    enriched uranium, with a
                    plutonium trigger.  The nominal
                    yield is 10 kilotons.
                         (in Arabic, subtitled)                            *
                    Release her and I'll cooperate.

          Malik lowers the knife from her jaw.  He turns away from her
          like she has ceased to exist and yells at the terrorists to
          remove the other weapons.  Jackhammers tear into the stone
          figures.

          Helen is just staring at Harry, her mouth open.  He turns to
          her, not knowing what to say.  He shrugs sheepishly.

                              HARRY
                    What can I say?  I'm a spy.

          She just looks at him for a long time.  She moves closer,
          staring and staring, letting it sink in.  Then she hauls off
          and slugs him right in the jaw so hard is almost knocks him
          down.

                              HELEN
                    You bastard!!  You lying son of
                    a bitch!!

          Terrorists grabs her and restrain her.  She starts to cry.

                              HARRY
                    I'm sorry, honey.

                              HELEN
                    Don't call me honey!  You don't
                    ever get to call me honey again.
                    You understand?!  You pig!

          Juno looks at them both and laughs.  She offers Helen a tissue.

                              JUNO
                    Here you go, dear.

          NEARBY, Akbar is going through the contents of Helen's handbag
          and Harry's wallet.  He rips open the bottom stitching and
          pulls out the geo-positioning transmitter.

                              AKBAR
                    Abu!  Look at this!                                    *

          Malik looks at the tracker and then smashes it to the floor.
          Helen looks at the crushed transmitter.  She stares at Harry
          with dawning realization.

                              HELEN
                    You bugged me?!!

          Juno cracks up at this.


    243   INT. CITATION JET - NIGHT

          The jet has become a mobile tactical-command center, with Gib,   *
          Faisil, and several other agents working out of portable         *
          equipment cases.  Faisil looks up from a computer screen         *
          suddenly.

                              FAISIL                                       *
                    We've lost the signal.

          Gib, who has been pacing the aisile whirls to the screen.        *

                              GIB
                    Son of a bitch!  Where?

                              FAISIL                                       *
                    It's an island in the Keys, out                        *
                    past Marathon.                                         *

          Gib goes up to the cockpit.  They are on approach and the
          lights of Miami fill the front window.

                              PILOT
                    Miami TCA, we are on final.

                              GIB
                    Call our DEA contact, tell him I
                    want those choppers flight-ready
                    the second we land.


    244   INT. WAREHOUSE - NO NAME KEY - NIGHT

          TIGHT ON BLACK AND WHITE VIEWFINDER IMAGE of the terrorists'
          handycam.  Harry is speaking directly into the camera,
          finishing up his message.

                              HARRY
                    ...and I can verify that they
                    have the arming box and all                            *
                    equipment necessary to detonate
                    the four warheads.  This is
                    absolutely the real thing,
                    gentlemen.

          The camera swings off Harry to Malik, standing before the rest
          of the Jihad warriors, who are assembled behind the four bombs.

                              MALIK
                    You have killed our women and                          *
                    children, bombed our cities from
                    afar like cowards, and dare to
                    call us terrorists--

          Over the image of Malik, a LOW-BATTERY warning begins to flash.

          CUT TO SCENE, as Malik speaks into the camera, which is head by
          one of his men.  The CAMERAMAN is sweating, wondering if he
          should interrupt.  He gulps nervously as Malik drones on.

                              MALIK
                    -- But now the Oppressed have                          *
                    been given a mighty sword, to                          *
                    strike back at their enemies.                          *
                    Unless the US pulls all military
                    forces out of the Persian Gulf
                    area, immediately and forever,
                    Crimson Jihad will rain fire on
                    one major US city each week until
                    these demands are met...

          BACK TO VIEWFINDER IMAGE.  BATTERY warning flashing faster.

                              MALIK
                    ... First one weapon will be
                    detonated on this uninhabited
                    island as a demonstration of
                    Crimson Jihad's power and our
                    willingness to be humanitarian.
                    However, if there demands are not--

          In a burst of static the image GOES BLACK.

          The cameraman nervously lowers the camera, ashen faced.
          Malik's eyes are black with murder.

                              CAMERAMAN
                    Battery, Abu.

                              MALIK
                    Get another one, you moron!


    245   INT. BUILDING - NIGHT

          A filthy, crumbling cinderblock building (near the warehouse).
          A few bare light bulbs with bugs zipping around then, and no
          glass in the windows.  Harry and Helen are brought in by two
          TERRORIST GUARDS.  Juno follows then into the bleak room.
          Guards shackle them to steel chairs with handcuffs.

          A MAN enters the room carrying a small suitcase.  He has skull-
          like features.  He opens the suitcase and Harry has a good view
          of the contents:  medical instruments, needle-probes, drills,
          Dremel tools with saw blades.

                              JUNO
                    This is Samir.  See if you can
                    guess his specialty.

                              HARRY
                    Oral hygiene?

                              JUNO
                    Not exactly.

                              HELEN
                         (scared)
                    What's going on, Harry?

                              JUNO
                    Samir is just going to ask Harry
                    a few questions.  See, we're not
                    even sure which agency Harry
                    works for.  Now, Samir is
                    absolutely first class, but on
                    the other hand we have Harry,
                    here, who has managed to lie
                    convincingly to the woman he
                    loves for 15 years.  So it will
                    be interesting to see how long he
                    can resist.

                              SAMIR
                         (holding up a syringe)
                    This will help.

          Samir injects Harry in the arm with the syringe.

                              HARRY
                    You know, you should swab that
                    with alcohol.  I might get an
                    infection.

                              SAMIR                                        *
                    I'll return when this has taken                        *
                    effect.  Then we'll talk.                              *

                              HARRY                                        *
                    I'm looking forward to it.                             *

          Samir exits.                                                     *

                              HARRY                                        *
                    Why are you helping these raving
                    psychotics.

                              JUNO
                    Because they're very well-funded
                    raving psychotics, and I'm
                    getting a lot of money.

          She kneels down in front of Harry, stroking his leg.

                              JUNO
                    You think I care about their                           *
                    cause?  Or yours?  Not at all.                         *
                    See, America is on top now .  .                        *
                    .  but so was Rome, once.  All                         *
                    civilizations crumble.  One
                    nation succeeding over another.
                    What does it mean in the long
                    run?  The only important thing is
                    to live well.  And...  living                          *
                    well takes money.                                      *

                              HARRY
                    You're damaged goods, lady.

          Harry's words are beginning to be slightly slurred.  The drugs
          are taking effect.

                              JUNO
                         (indicating Helen)
                    Did you tell her about us, Harry?

                              HARRY
                    There is no us, you psychotic
                    bitch.

                              JUNO
                    Sure.  Say that now.

          Juno puts her arms around him and kisses him passionately.  She
          breaks, looking at Helen to savor the effect.  Helen is
          trembling with rage.

                              JUNO
                    Thanks for everything, Harry.  It
                    was good while it lasted.

          Juno crosses to the guard and takes a hand-grenade off his
          belt.  Then she goes to Helen and places it between her knees.
          She pushes Helen's knees together to hold the spoon against the
          grenade then pulls the pin.

                              JUNO
                    Now just keep your knees
                    together, and you'll be fine.

                              HELEN
                    Something you obviously have a
                    hard time doing!

                              JUNO
                    Hold that thought.

          Juno leaves.  Harry looks dopily at Helen.

                              HARRY
                    There was nothing.  I swear.

          Helen doesn't believe him, and why should she.  She looks up     *
          from staring at the grenade, to see that Harry's head has
          slumped forward.

                              HELEN
                    What did he give you?

                              HARRY
                         (groggy)
                    Sodium amytal, maybe some other
                    truth agent.

                              HELEN
                    It makes you tell the truth?

                              HARRY
                    Yes.

                              HELEN
                    Is it working yet?

                              HARRY
                    Ask me a question I would
                    normally lie to.

                              HELEN
                    Are we going to die?

                              HARRY
                    Yup.                                                   *

                              HELEN                                        *
                    I'd say it's working.

                              HARRY                                        *
                    They'll either torture us to
                    death, shoot us in the head, or
                    leave us until the bomb goes off.

                              HELEN                                        *
                    Okay, okay.  I get it.  How long                       *
                    have you been a spy, Harry?

                              HARRY
                    17 years.

                              HELEN
                    My God.  Have you had to...  have
                    sex with other women in the line
                    of duty?

                              HARRY
                    I don't take those assignments.

                              HELEN
                    What about Juno?

                              HARRY
                    She's really a fox, isn't she?

                              HELEN
                    Did you pork her Harry?

                              HARRY
                    No.
                         (pause)
                    But I wanted to.

                              HELEN
                         (crying)
                    Are you a total lying,
                    scumsucking pig Harry?

                              HARRY
                    Looks that way.


    246   INT. WAREHOUSE - NIGHT

          ON MALIK as he pokes through Harry and Helen's stuff on the
          table.  He picks up Helen's wallet and opens it.  ECU WALLET -
          a picture of Harry, Helen and Dana.  Malik stares at it a
          moment.  Then motions to one of his men.


    267   INT. TORTURE ROOM - NIGHT

          Samir lifts Harry's head and sees that he is pretty shitfaced.

                              SAMIR
                    Is there anything you would like
                    to tell me before we start?

                              HARRY
                    Yes.  I'm going to kill you
                    pretty soon.

                              SAMIR
                         (calmly preparing his
                          instruments)
                    I see.  How exactly?

                              SAMIR
                    Well, I thought I'd break your
                    neck, then use you as a human
                    shield, then kill the guard with
                    that knife there on your table
                    and take his gun.

          Samir approaches Harry with a long steel needle probe.

                              SAMIR
                         (humoring Harry)
                    And what makes you think you can
                    do all that?

                              HARRY
                    Because I picked the lock on
                    these handcuffs...

          He holds them up to show Samir.  Then he explodes out of the
          chair-- Breaks the torturer's neck-- Spins him between himself
          and the guard-- Who then hesitates to fire-- Giving Harry the
          split second he needs to grab the knife from the table and
          throw it into the guard's eye, killing him instantly.

          Helen is flat blown away.  Wow.  It only took a few seconds for
          Harry to reverse the situation.  Her Harry!  He picks up the
          guard's 9mm pistol and staggers over to her.

                              HARRY
                    Don't move.

          He kneels down in front of her.  Gently he slips his hands
          between her thighs, getting a grip on the grenade, then sliding
          his fingers slowly over the spoon to hold it securely.

          He stops moving, suddenly.  She realizes with a sudden jolt of
          terror that he has frozen.

                              HELEN
                    What is it?

                              HARRY
                         (staring transfixed)
                    God, you have great legs.

                              HELEN
                    Harry... snap out of it!

          She sees how shitfaced he is.  He holds the grenade up, gripped
          safely so the spoon can't fly off.

                              HARRY
                    Go it, baby.


    248   EXT. BUILDING - NIGHT

          Harry and Helen emerge from the building, creeping through the
          shadows.  She stops him for a second.  Gets very close to him,
          whispering, crouched in the shadows.

                              HELEN
                    Tell me something before this
                    stuff wears off and you start
                    lying again.

                              HARRY
                    What?

                              HELEN
                    Do you still love me?

                              HARRY
                    Yes.

                              HELEN
                    As much as you used to?

                              HARRY
                    No.
                         (she deflates)
                    Much more.

          She looks into his eyes, and knows he is telling the truth.

                              HELEN                                        *
                         (grinning)                                        *
                    It wore off.

          At that moment, they hear yelling from the cinder-block
          building.

                              HARRY
                    They found the bodies.  Come on--


    249   EXT. SWAMP - NIGHT

          Harry takes her hand and they sprint for cover at the edge of
          the mangrove swamp.  A LIGHT HITS THEM.  TWO TERRORISTS,
          running around the corner, open fire with AK47s just as Harry
          and Helen reach a cluster of palm trees.  The trunks explode     *
          with bullet hits as they run through the darkness.               *

          As the two terrorists move through the trees, Harry lunges from  *
          the shadows and grabs one from behind.  He wrests his rifle      *
          away and swings it at the other, knocking his AK down.  The      *
          first terrorist draws a knife and slashes at him, but Harry
          grabs his knife arm and swings the blade into his partner.
          Then he elbow smashes the first guy and seizes him in a two-
          hand neck-breaker-- SNAP.

          Two more run around the corner of a building.  Harry stomps his  *
          foot down on one of the AKs, which is lying across a log.  It    *
          flips into the air and he catches it in firing position .  .     *
          .  and takes them out with two well-aimed bursts.  Helen comes   *
          out of the shadows staring at Harry in amazement.  His shirt is
          ripped, he is scratched and bleeding, holding an assault rifle   *
          expertly and scanning the brush like a feral animal.             *

                              HELEN
                    I married Rambo.                                       *

          He grabs her and kisses her passionately.

                              HARRY
                    Let's go.
    250
   thru   OMITTED                                                          *
    253

    254   INT. WAREHOUSE - NIGHT

          LOOKING DOWN FROM A CATWALK on the activity below the four
          horsemen statues and several utility trucks almost fill the
          floorspace.  A rental truck is being loaded with conventional
          weapons, including machine guns and several HAND-LAUNCHED
          STINGER MISSILES.  One of the nukes has been lowered into a pit
          cut in the concrete floor.  Malik and most of the terrorists
          are gathered around it.

          A GUARD, F.G.  on the catwalk, watches intently from the
          railing.  So intently that he doesn't head Harry sneak up on
          him.  SNAP.  Harry catches the guard's MAC-10 machine pistol
          before it can hit the floor.  He and Helen crouch behind a
          steel pillar, watching the proceedings below.  Helen keeps
          glancing at the dead guard, killed so effortlessly a moment
          before by her husband.  It is all surreal.

          BELOW, MALIK is shouting in his native language.  He pulls a
          chain from around his neck and holds up a METAL ARMING KEY.
          Then jumps down into the pit and inserts it into the warhead's
          arming computer.  Harry is listening intently, translating for
          Helen.

                              HARRY
                    In ninety minutes a pillar of                          *
                    holy fire will rise at this place                      *
                    as a sign to out enemies.                              *
                         (Malik theatrically
                          turns the arming key)
                    It is done...

          Malik jumps out of the pit.  He signals and terrorists pour
          concrete into the pit, covering the bomb.  He begins ranting
          again.

                              HARRY
                    Now no man can stop us.  We are
                    set on our course.  No force can
                    stop us...
                         (as libbing)
                    ... we're cool, we're badass,
                    blah blah.


    255   INT. WAREHOUSE - DOWN BELOW - NIGHT

          Malik raises his fist and chants some Crimson Jihad slogans.
          The terrorists echo and chant and then cheer, firing their guns
          in the air.  Harry pulls Helen back as ricochets clatter all
          over the inside of the metal building.

          Malik shouts something and all the terrorists go back to work
          at double time.  They are loading warheads Two and Three onto
          trucks (one per truck) and the last, number Four, is being
          wheeled out on a cart to the Aerospatiale outside.


    256   INT. WAREHOUSE - ON CATWALK - NIGHT

                              HELEN
                    If we're on an island, why are
                    they using trucks?

                              HARRY
                    We must be in the Florida Keys .                       *
                    .  .  the Overseas Highway                             *
                    connects the islands to the
                    mainland.

                              HELEN                                        *
                    So there's no border, no customs.                      *
                    They can just drive anywhere they                      *
                    want .  .  .  there's nothing to                       *
                    stop them .  .  .

                              HARRY
                    Just us.

                              HELEN
                    What are you going to do?

                              HARRY
                         (shrugs, like: what do
                          you think?)
                    Go down there and kill everybody,
                    I guess.

          He hands her the MAC-10.  She holds it clumsily.

                              HELEN
                    Oh shit.

                              HARRY
                    Wait here.  If you have to use
                    this, use it.  Don't choke.
                    Okay?

          She nods gamely and Harry starts down the steel stairs to the
          floor below.


    257   INT. WAREHOUSE - MAIN FLOOR - NIGHT

          ON HARRY, reaching the floor.  He slips behind some packing
          crates.  Then swings into action-- He hurls the grenade as hard
          as he can, down to the other end of the building.  KABOOM!!  He
          uses the distraction to move forward.  But it goes wrong almost
          right away...  A TERRORIST comes around a corner behind him,
          shouts-- Harry dives for cover as the guy fires, but-- He trips
          on a pipe and goes sprawling-- Losing the AK47, which slides
          under some equipment and-- Seven terrorists run toward him,
          with guns raised.

                              HARRY
                         (to Helen)
                    SHOOT!!


    258   INT. WAREHOUSE - CATWALK - NIGHT

          HELEN fires a burst at the terrorists, actually hitting one!
          But-- The recoil knocks her back, into a metal column, and the
          gun

          FLIES OUT OF HER HANDS.
          It falls to the metal steps and hits-- Going off.  B-B-BLAM!
          The burst kills two more terrorists, and-- The Mac-10
          cartwheels and hits further down.  ANOTHER BURST.  Another
          terrorist is splattered.

          It spins and hits another step-- ANOTHER RANDOM BURST
          MIRACULOUSLY KILLS THE LAST TWO TERRORISTS!!

          She has inadvertently saved her husband.  Harry looks up from
          behind cover-- to see all seven dead.  Now it's his turn to be
          amazed.  He signals to her to run... get off the exposed
          catwalk.  She makes it through the door to the outside stairs
          as bullets start hitting the steel walls behind her.


    259   INT. WAREHOUSE - MAIN FLOOR - NIGHT

          A TERRORIST with a knife runs at the unarmed Harry.  Harry
          snatches up a jack-hammer and BRAT-TAT-TAT-- Drives it into the
          guy's chest.  Then he-- Grabs an AK from one of the fallen
          terrorists and opens fire.  Malik shouts to the drivers of the
          trucks to get going.  The other terrorists return fire at Harry--
          Who sprints from cover to cover, reaching a side door-- Where
          he rakes one of the passing trucks with a burst-- But
          terrorists behind him in the building have a clear shot and
          rounds hit the wall next to him as he-- Dives through the door--


    260   EXT. WAREHOUSE - NIGHT

          --landing outside.  He takes cover behind an aircraft REFUELING
          TRUCK.  Not a good place.  He is pinned down by automatic
          weapons fire.  He looks around for Helen, who is--


    261   EXT. WAREHOUSE - BEHIND A FORKLIFT - NIGHT

          50 yards away.  She is unarmed and unable to help.


    262   EXT. WAREHOUSE - BEHIND A REFUELING TRUCK - NIGHT

          HARRY cranks up the pump on the refueling truck and grabs the
          nozzle of the hose.  He opens the flow and-- A stream of JET-
          FUEL blasts out of the nozzle and-- Harry fires his AK right
          across the nozzle-- The muzzle-blast ignites the av-gas and he
          has a flame thrower with a 70 foot reach.

          Harry, lit demonically by the inferno, paints the whole area,
          setting vehicles afire, and scattering the terrorists.


    263   EXT. WAREHOUSE - NIGHT

          Through the flames and smoke he sees one of the men hand Malik
          a LAW rocket.  Malik snaps it to his shoulder, preparing to
          fire.


    264   EXT. DOCK - NIGHT

          Harry runs toward the edge of the dock thirty feet away as--
          MALIK fires.  The rocket shoots toward the truck and-- Harry
          leaps toward the dark water as-- KABOOOM!  Behind him the gas
          truck EXPLODES IN A HUGE FIREBALL.


    265   EXT. UNDERWATER - OFF THE DOCK - NIGHT

          ANGLE LOOKING UP, UNDERWATER, AS HARRY HITS THE WATER AND
          dives down.  An instant later a sheet of fire sweeps across the
          surface above him.  Harry kicks hard, trying to swim beyond the
          inferno above him so he can surface.


    266   EXT. WAREHOUSE - NIGHT

          CLOSE ON HELEN, watching the burning wreckage of the gas truck.

                              HELEN
                    Oh my God.  Harry.

          A PISTOL ENTERS FRAME.  Its muzzle taps the back of her head.
          She gasps and turns to see-- JUNO, holding the weapon expertly.

                              JUNO
                    My condolences to the window.                          *

          Juno grabs her and yanks her to her feet.  Helen SLAPS JUNO      *
          HARD.  Juno has a slash across her cheek.  Blood trickles down.  *
          She grabs Helen's hand and viciously turns it, seeing the        *
          wedding ring turned inward, the diamond on the palm-side.  Her   *
          face darkens with fury and she points the gun at Helen's face,   *
          preparing to kill her .  .  .                                    *

          And Malik's hand grabs her wrist, stopping her.                  *

                              MALIK                                        *
                    Not now.  We may need a hostage.                       *

          Juno grabs her and twists her around, pushing her toward the     *
          limo nearby.                                                     *

                              JUNO
                    Let's go, Suzy Homemaker.


    267   EXT. UNDERWATER - NIGHT

          Harry is still swimming.  He reaches the edge of the fire and
          surfaces, gasping for breath.  Treading water he scans the
          dock.


    268   EXT. WATER OF THE DOCK - HARRY'S POV - NIGHT

          Amid the fire and smoke, he sees Juno walking Helen at gun
          point toward a LIMO.


    269   EXT. WAREHOUSE - NIGHT

          TRACKING WITH JUNO, approaching the car.  Malik passes, jumping  *
          into the Aerospatiale with his few remaining men.  The fourth    *
          bomb is clearly visible as the sliding door is closed.  The      *
          copter pulls pitch, fanning the flames of the inferno below as   *
          it arcs away.

          AKBAR, the 300 pound terrorist/chauffeur opens the door and      *
          Juno gets into the limo with Helen.  Akbar scrunches into the
          front seat and starts the car.


    270   EXT. RAMP TO HIGHWAY - PREDAWN

          There is just enough light to see some geography.  The island
          is very tiny.  Running right over it and to the horizon in both
          directions is the OVERSEAS HIGHWAY.  The terrorists' trucks
          rumble up an on-ramp past a sign that says MIAMI - 110.  The
          limo is the last member of the convoy.  The Aerospatiale passes
          overhead, hugging the deck, headed for Miami at 150 knots.


    271   EXT. DOCK/ WAREHOUSE - DAWN

          It looks like the aftermath of a battle... burning wreckage,
          black smoke, bodies.  Not a living soul around.  The smoke
          swirls as two big BELL 206 HELICOPTERS settle on the middle of
          the dock.  GIB jumps out of the nearest with an AR-15, scanning
          the wreckage.  Several of his men, and a couple of DEA agents,
          spread out.  Gib breaks into a grin as he sees--

          HARRY, materializing out of the swirling smoke.  Dripping wet,
          clothes ripped and bloody.  But okay.

                              GIB
                    I thought this look like your
                    work.

                              HARRY
                    Let's go.  I'll brief you in the
                    air.

                              GIB
                    You're welcome.


    272   INT. BELL 206 - DAY

          Gib and Harry are working out of brief-case mobile com-units.
          Several Omega agents with headsets are reading maps, giving
          commands, coordinating the evacuation, mobilizing their own
          forces.  The energy is controlled but very high, everybody
          talking at once.  This is the day they all have trained for.
          It is impressive to watch.

                              GIB
                    --you tell the son of bitch this
                    is  Bright Boy Alert.  Repeat,
                    a Bright Boy Alert.  And I need
                    a patch of the White House ASAP.
                    That's right--

                              HARRY
                         (overlapping)
                    ... the Coast Guard has to clear
                    them back to a twenty mile
                    radius.  Anybody that can't make
                    the minimum safe distance we need
                    an airlift on, immediately--

          Gib whips around to Harry, lowering his headset mike.

                              GIB
                    I can get 3 Marine Corps Harriers
                    here in about 12 minutes.
                    They're on maneuvers out of Boca
                    Chica.

                              HARRY
                         (checking his watch)
                    Get 'em.  I'll brief them on the
                    way in.


    273   EXT. OVERSEAS HIGHWAY - DAY

          TRAFFIC on the two causeways is almost non-existent this early
          in the morning.  The three rental trucks, followed by the limo
          about a mile back, are almost the only vehicles.


    274   INT. LIMO - DAY

          Juno has a 9mm pistol aimed at Helen.  She opens the sunroof,
          letting in the morning air and light.  Then pours herself a
          Scotch from the bar.

                              JUNO
                    Like one?

                              HELEN
                         (eyes like steel)
                    Fuck you.


    275   INT. BELL 206 COPTER - DAY

          HARRY AND GIB are both talking a mile a minute, coordinating
          the evacuation of the highway and the surrounding area.

                              GIB
                    ... well get the Highway Patrol
                    to go through the streets and
                    tell everybody on their damn
                    loudspeakers.  Just the basics...
                    get away from windows, don't look
                    at it... yeah--

                              HARRY
                    Here they come.

          Gib looks out the window in time to see--

          THREE hunch-winged P.S.T.O.L.  HARRIER jets pass them at 600
          knots.

                              HARRY
                         (to the pilots)
                    Roger, Mike Three Five, you are
                    cleared to engage.  Be advised,
                    your targets have Stingers and
                    light machine guns.


    276   INT. COCKPIT OF LEAD HARRIER - DAY

          The pilot, like all jet pilots, seems icy calm.

                              PILOT
                    Copy that, Bright Boy command.
                         (to his wingman)
                    Tally ho.


    277   EXT. OVERSEAS HIGHWAY - DAY

          The terrorists see the Harriers approaching on a low attack
          run, and scramble to get out their Stingers.

          The Harriers open fire with cannons and rocket pods on the
          trucks below.  The 20mm cannons rip the ocean on either side of
          the causeway into plumes of spray.


    278   EXT. HIGHWAY - ON TRUCK - DAY

          One of the Bomb trucks is hit.  It explodes and flies off the    *
          bridge into the water.  The terrorists on one of the other
          trucks fire a Stinger missile.


    279   EXT. ABOVE HIGHWAY - ON HARRIER - DAY

          It arrows up, blowing one wing off the lead Harrier.  The pilot
          ejects as the plane cartwheels into the sea and explodes.


    280   INT. BELL 206 COPTER - DAY

          Harry sees the battle far ahead... the exploding jet.

                              HARRY
                         (to the pilots)
                    Recommend you use your Mavericks                       *
                    to take out the bridge.                                *

                              PILOT (OVER)
                    They won't set off those nukes
                    will they?

                              HARRY
                    Negative, Mike Three Five.
                    That's a negative.
                         (low, to Gib)
                    Probably not.


    281   EXT. HIGHWAY/ OCEAN - DAY

          The two remaining Harriers make an attack run, launching four    *
          Maverick missiles at the bridge.                                 *


    282   EXT. HIGHWAY - DAY

          The missiles hit the support trestles ahead of the trucks and    *
          .  .  .  K-BOOOOM!!  A whole section of the concrete span        *
          collapses into the water.


    283   EXT. HIGHWAY - TRUCKS - DAY

          The first truck is consumed in the blast.  The last truck        *
          slides to the edge of the gap and stops.                         *


    284   INT. / EXT. LIMO - DAY

          Juno is trying to see what's going on ahead.  All they can see
          is smoke and explosions.  Akbar is speaking heatedly (in
          Arabic) into a walky talky and getting no answer.

          Helen uses this moment of distraction to lunge forward,
          grabbing the gun.  Juno fires wildly as they struggle for
          control of the weapon.  The sound is deafening in the tiny
          space.  The second shot catches Akbar behind the ear, and he
          slumps forward.  His foot mashes down on the accelerator pedal
          and the car surges faster.


    285   EXT. HIGHWAY/ BATTLE SITE - DAY

          The third Harrier fires its 2.75 Rockets and blows the           *
          remaining truck into tinfoil.  Battle over.  Two bombs down.


    286   INT. BELL 206 COPTER - DAY

          The columns of smoke from the battle are still a couple miles
          ahead of the copter.

                              HARRY
                    Good shooting, Mike Three Five.
                    I need you to stay on station.
                         (to the copter pilot)                             *
                    Okay.  You see that limo?


    287   INT./ EXT. LIMO - HIGHWAY - DAY                                  *

          THE LIMO tracks lazily back and forth across the lanes from one
          guardrail to the other, throwing sheets of sparks where it
          hits.  In is funneling along the causeway, unslowed, like an out-
          of-control-train.


    288   INT. LIMO - DAY

          INSIDE, Helen knocks Juno's hands against the edge of the open
          sunroof and the pistol goes flying out.

                              HELEN
                    You... bitch!!

          Helen is raging, grabbing Juno's head and pounding it against
          anything hard she can find inside the car.  Suddenly she stops,
          looking out the front window.  Juno turns too, off her look, to
          see-- ANGLE THROUGH THE WINDSHIELD.  The causeway is blown away
          about a quarter mile ahead.

                              JUNO
                    Shit!

          Juno climbs through the window into the front seat, tugging on
          the dead driver.  The heavyset Akbar is like a bag of cement.
          Helen look up through the sunroof and sees--


    289   EXT. ABOVE LIMO - DAY

          THE BELL 206 COPTER, descending rapidly.  Harry is climbing out
          onto the skids.  He hooks on arm and leg over the skid and
          hangs down as low as he can.  HELEN stands up in the opening
          and waves her arms.


    290   INT. / EXT. BELL COPTER/ LIMO - DAY

          Gib is yelling at the DEA pilot, who's not thrilled with this
          idea.

                              GIB
                    Get lower, goddamnit!  Right now!

          Harry strains downward with one hand.  Helen reaches up toward
          him.  The car screeches along the guard-rail, slamming against
          it, throwing her from side to side in the sunroof.  Their
          fingers touch, then separate.  She looks-- the limo is almost
          on the precipice.


    291   INT. LIMO - DAY

          INSIDE THE CAR, Juno is desperately pulling on the inert
          driver.  He slumps over on her, pinning her.  She looks over
          the dash as the shattered edge of the causeway rushes toward
          them--


    292   EXT. LIMO - DAY

          HARRY'S HAND grabs Helen's.  He pulls her out of the car just
          as the limo clears the edge.  She is jerked through the
          sunroof, screaming.  The car falls away, arcing gracefully to
          the ocean below.  It hits with an enormous explosion of water.


    293   INT. / EXT. BELL 206 COPTER - DAY

          HARRY PULLS HELEN up onto the skid with him, getting her
          stable.  She is gasping, holding on for dear life.  She looks
          down at the ocean, the burning wreckage on the bridge, the
          whole unbelievable panorama.

          Then she looks at Harry and-- Grins.  She's alive!  And so is
          he.  And not only that, this is the biggest rush of her life.
          Harry grins back.  Surprised and pleased that she is more of a
          soul-mate than he ever knew.

                                                      CUT TO:


    294   EXT. HIGHWAY - DAY

          ANGLE ON A HARRIER, landing in full-hover on the causeway.  The
          shriek of the jet engine is enormous.  It bounces down onto its
          wheels like a big inscect.  The other remaining Harrier is
          already down, behind it.


    295   EXT. BELL 206 - DAY

          TRACKING past burning wreckage to Harry's Bell 206 just
          settling on the highway.  B.G.  the other DEA Bell 206 is
          landing with the Harrier pilot who ejected hanging in a sling.
          Harry jumps out of the open door, followed by Helen and Gib.     *
          Harry looks at his watch.                                        *

                              HARRY
                    Any minute now.

                              GIB
                         (with a megaphone/ to
                          everybody)
                    It's show time.  Don't look at                         *
                    the flash.  Do not look at the
                    flash.

                              HARRY                                        *
                         (to Helen)                                        *
                    We're safe here.                                       *


    296   EXT. CAUSEWAY - DAY

          Helen and Harry move away from the agents.  They are safe and
          together.  They look at each other, and there is nothing to
          say.  Harry removes her wedding band from the wrong hand and     *
          slips it back onto its rightful finger.                          *

          He leans forward to kiss her.  She reaches for him.  Their lips  *
          meet.


    297   EXT. CAUSEWAY - HARRIERS IN BACKGROUND - DAY

          And they are locked together in that position when the sky
          lights up behind them.  Talk about fireworks.  Harry covers her  *
          eyes and they stay in the kiss.                                  *

          They are in no danger, but the effect is stunning.  The classic  *
          mushroom cloud appears at the horizon.  Helen watches, awed,
          the most glorious and terrifying sight of our age.

                              HELEN                                        *
                    That was some kiss.                                    *

          The two young Harrier pilots stand nearby, watching the
          mushroom disperse.  Gib is with the other Omega agents, his
          finger pressed in his ear, listening to his headset.  He waves
          to Harry to come to him.

          Harry detaches from Helen and walks over to him.  Helen watches
          him go... back to work.  She glances over at the two Harrier
          pilots.

                              HELEN
                         (to the pilots)
                    That's my husband.

          HARRY goes into the huddle with Gib and the others.

                              GIB
                    Malik's copter landed twenty
                    minutes ago in Miami.  He's on
                    the top of a high-rise downtown.
                    SWAT's on the scene, and I got
                    the cops sealing off the area.                         *
                    He renezvous'd there with about                        *
                    a dozen more faction members.                          *
                    They're barricaded on the                              *
                    twentieth floor.
                         (he gets very serious)                            *
                    Harry, they have a hostage.  It's                      *
                    Dana.                                                  *

                              HARRY                                        *
                    My Dana!?

                              GIB
                    They must have grabbed her during
                    the night... we didn't know.
                    Sorry, Harry, I--


    298   EXT. HARRIER - DAY

          But Harry is already moving.  He sprints toward the nearest
          Harrier, witch is idling nearby.  Gib runs after him.

                              GIB
                    Harry!  We'll get her out!  We                         *
                    have a man inside already .  .                         *
                    .  Harry!!  Aw, shit... here we
                    go.

          Harry walks up to the young pilot...

                              HARRY
                    I need to borrow this thing for
                    a few minutes.

          He pushes past the pilot before the guy can react.

                              PILOT
                    Excuse me .  .  .  sir?!                               *

                              GIB                                          *
                    Force Comm cleared you to give us                      *
                    total cooperation, right?                              *

                              PILOT                                        *
                    Yessir, but .  .  .                                    *

                              GIB                                          *
                    That's coming right from the                           *
                    President, Captain.                                    *

                              PILOT                                        *
                    Yessir.  Uh .  .  .  sir?  You're                      *
                    going to have to sign for the                          *
                    aircraft.                                              *

                              GIB                                          *
                    I'll sign for it.  You got a pen?                      *
                         (one of the agents                                *
                          pulls out a pen)                                 *
                    Here, he'll sign for it.                               *

          Harry is in the cockpit by now.  Gib climbs up.                  *

                              GIB
                    I'd like to remind you that it
                    has been ten years since you were
                    actually in one of these.

                              HARRY
                    If I break it they can take it
                    out of my pay.


    299   INT. HARRIER - DAY

          Harry doesn't have a G-suit or a helmet of anything.  He just
          has his walky on his belt.

          INSIDE THE CRAMPED COCKPIT, Harry looks around for the lever
          which vectors the thrust.  Finds it, and sets it to 90 degrees
          (vertical).  He bangs the canopy closed and brings the throttle
          up to FULL.

                              GIB
                         (to pilot)
                    It'll be fine.  He's got hundreds
                    of hours in Harriers.  Joint-ops,
                    cross-training and all that.

                              AGENT
                    Harry can fly anything.

          The big plane wobbles off the ground like a drunken bumble-bee.

                              GIB
                    He's a little rusty.  It's like
                    riding a bicycle .  .  .  you
                    never forget.  Uh .  .  .  I'd
                    seek shelter!

          It drifts sideways and everybody runs to get out of the way.
          At about six feet above the ground it slides sideways, clips
          the top of a cop car and knocks off the light bar.  It lifts
          unsteadily straight into the sky.  It turns around 180.

                              GIB
                    He's got it.

                              HARRY
                    Sorry.

          Harry pushes the vector lever forward and the thrust-nozzles
          turn, accelerating the plane forward.


    300   EXT. CAUSEWAY - DAY

          Gib is standing, watching Harry go.  He never believes this
          guy.  Harry's voice comes over the walky...

                              HARRY
                    Tell Helen what's going on.  Tell
                    her I love her.  And ask the
                    pilot where the button for the
                    20mm cannon is-- never mind.  I
                    found it.

          The plane disappears toward Miami.


    301   EXT. HIGH RISE - MIAMI - DAY

          AN AERIAL SHOT, circling the building.  It is an unfinished
          building in the high rise district.  The Aerospatiale sits on
          the roof, its rotor turning slowly.  The street below is jammed
          with cars.  Honking horns echo up the glass canyons.


    302   EXT. STREET - DAY

          ANGLE AT STREETLEVEL as cops use bullhorns and bad attitudes to
          clear the street around the building, setting up a perimeter
          two blocks away.


    303   INT. HIGH RISE - DAY

          INSIDE THE HIGH RISE the terrorists have barricaded themselves
          on the twentieth floor.  There are 12 TERRORISTS, all with
          automatic weapons.  Occasionally one of them will fire a burst
          down a stairwell with an AK-47.  Miami-Dade SWAT team members
          are deployed in the stairwell but are keeping their distance.


    304   INT. HIGH RISE - ON THE 21ST FLOOR - DAY

          Malik is sequestered with the bomb.  It sits on the floor,
          still in its shipping case.  Dana stands nearby, looking
          scares.  She is not ties up.  Where can she go?

          She watches Malik go to the warhead and insert his arming key.
          He has a TV set up on some crates, and we see that his video-
          tapes demands are running on CNN.  Harry's face fills the
          screen, verifying the the nuclear weapons as a real threat.  He
          is identified at the bottom of the screen as HARRY TASKER,
          ATOMIC ENERGY COMMISSION.  Dana stares at her father's face on
          the national news.  It's like a bad dream.  She has been crying
          but she is fairly composed now.

                              DANA
                    I have to go to the bathroom.

          The terrorists ignore her.  A terrified ACTION NEWS REPORTER
          and his CAMERAMAN, under guard by TWO TERRORISTS, are hastily
          setting up to shoot Malik.
                              CAMERAMAN
                    Tape is rolling.

                              MALIK
                    This is a communique from Crimson
                    Jihad.  You have heard from your
                    own expert.  You have seen the
                    Holy fire with your own eyes.  Do
                    not force us to destroy this
                    city.  And do not try to use
                    force against us.  I can trigger
                    this bomb instantly.  All I have
                    to do is turn that key...
                         (he points fiercely at
                          the bomb)
                    ... and five million of your
                    people will die.

          The reporter glances down, nervously.

                              REPORTER
                    What key?

                              MALIK
                         (pointing like the
                          guy's blind)
                    That key right there!

          Malik looks down.  The key is gone.

                              MALIK
                         (to his men)
                    Someone has stolen the key!

          He turns, looking around wildly.  Malik then sees Dana running
          for the stairwell to the roof.  He pulls a pistol and shoots at
          her, but hits the wall as she bangs through the door.  He runs
          after her.


    305   EXT. BUILDING / ROOF - DAY

          ON THE ROOF, Malik bursts through the stairwell door.  His TWO
          MEN have followed him.  Malik stops suddenly when he sees--
          Dana standing at the edge of the roof.  She is holding the
          ARMING KEY by its chain.  Dangling it over the edge.  He
          signals to his men not to fire.

                              DANA
                         (terrified, but
                          thinking)
                    You shoot me, this'll fall.

          Malik advances slowly, his eyes glistening ferally.  She backs
          up a step with each of his, moving along the edge of the roof.
          Malik keeps his pistol aimed at her chest.

                              DANA
                    Don't come any closer.  I'll drop
                    it!  I swear to God.

                              MALIK
                    If you drop it, I will have no
                    reason not to kill you.

          He advances, calling her bluff.  She backs away from him along
          the edge.

                              MALIK
                    Come on, child.  Give me the key.
                         (smiling)
                    Don't you want to live?  I give
                    you my word.

                              DANA
                    No way you whacko.

          She reaches the corner of the building.  Her back touches
          something.  it is the boom of a small crane, used for lifting
          building supplies.  Careful to keep the key dangling over open
          space, Dana climbs up on the lattice-work boom and moves out
          beyond the edge of the building, never taking her eyes off
          Malik.  She is hyperventilating, terrified, but thinking
          clearly.

          Malik steps up on the crane, crawling out after her.  He knows
          she will not drop the key as long as he has the gun.  It is a
          game which will end when she reaches the end of the boom.  Dana
          puts the key between her teeth so she can hang on better.  It
          is windy and the boom is swinging.


    306   INT. 20TH FLOOR - DAY

          The Crimson Jihad warriors hear a thunderous, shrieking roar
          and look toward the window.


    307   EXT. HIGH RISE - DAY

          RISING INTO VIEW, LIKE A GARGOYLE FROM HELL, IS THE HARRIER.
          It fills the windows completely, hovering only a few feet
          outside.  The terrorists raise their AK-47s to fire just as
          Harry hits the 20mm nose-cannon.


    308   INT. / EXT. HIGH RISE - 20TH FLOOR - DAY

          Glass explodes into glittering mist, and terrorists explodes
          into bloody spray as Harry pivots the plane and the cannon
          sweeps the floor clear from side to side.  The Crimson Jihad is
          vaporized.


    309   EXT. ROOF - CRANE BOOM - DAY

          Malik hears the thunder of the jet and the firing, but from
          where he is he can't see what's going on.  He focuses on the
          key.  He must have that key.


    310   EXT. ROOF - NEAR HELICOPTER - DAY

          Malik's TWO REMAINING MEN run to the helicopter, gesticulating
          to the pilot to get ready to take off.  The pilot revs the
          turbine and the rotor whirls faster.  The two men jump in,
          picking up M-60 machine guns.


    311   EXT. ROOF - CRANE BOOM - DAY

          MALIK IS STILL ADVANCING out the crane boom.  Dana slips as she
          backs up, toppling off the boom.  She is hanging now by her
          hands over a 20 story drop.

          Malik is almost to her.  He needs a hand free to grab her.  He
          sets his gun down on the girder.  He grabs for her wrist.


    312   EXT. ROOF - OVERLOOKING EDGE - DAY

          ANGLE LOOKING DOWN.  Malik, Dana, the street far below.  With
          an unbelievable roar the Harrier sweeps in beneath Dana,
          FILLING FRAME.


    313   EXT. CRANE BOOM / OVER EDGE - DAY

          Harry has the canopy up.  Malik sees Harry, ten feet below.
          His eyes narrow with an all-consuming rage.  He glances at the
          pistol on the beam.  Back at the girl, the key in her teeth--
          So close.

          Harry maneuvers the cockpit directly under Dana.

                              HARRY
                         (shouting)
                    Let go baby!  I've got you!
                    Daddy's got you!


    314   EXT. ROOF / HARRIER - DAY

          Malik lunges for her wrist.  She screams and lets go-- Dana
          drops and hits the windshield of the hovering jet-- Harry grabs
          her with his left hand, right hand still on the stick-- He
          holds her until she can get a grip.  She is lying across the
          nose of the plane.  Harry starts to bank away and--


    315   EXT. CRANE BOOM - DAY

          Malik shrieks in rage.  He grabs his 9mm pistol and leaps off
          the crane--


    316   EXT. HARRIER - DAY

          Onto the back of the plane.  He starts crawling toward the
          cockpit.  Dana screams and Harry looks back, but just then--


    317   EXT. BUILDING - DAY

          The Aerospatiale swings around the building right in front of
          them-- The door-gunner OPENS FIRE.


    318   EXT. HARRIER - DAY

          Harry banks hard, taking the hits under the wing.  He pivots
          and slides sideways around the building, playing tag with the
          copter.

          He can't do anything radical enough to dislodge Malik without
          tossing off his own daughter.


    319   EXT. BUILDING - DAY

          The helicopter appears around the corner, guns blazing in the
          doors.  Harry pivots the plane and FIRES THE NOSE CANNON.  The
          helicopter is riddled.  It tilts and plummets, auto-rotating
          out of control.


    320   EXT. BUILDING - ANGLE AT STREETLEVEL - DAY

          As the copter hits the ground and explodes.  Fortunately the
          police had created a cleared perimeter.


    321   EXT. HARRIER - DAY

          THE HARRIER dips and slews, half out of control.  Malik is
          taking aim with the pistol, right at Harry's head.  Harry grabs
          his daughter with his left hand, holding her with all his
          strength and he-- Jinks the stick hard, just as-- Malik opens
          fire, but-- The plane tilts wildly and Malik topples, screaming--
          He slides along the wing, and falls over the leading edge--
          Only to catch himself on the only available hand-hold-- The
          last Sidewinder missile.


    322   EXT. HARRIER / SIDEWINDER - DAY

          Harry and Malik lock eyes for one long second.  Then Harry hits
          the FIRING STUD.  The Sidewinder drops away and ignites.
          Carrying Malik out over Miami Beach.  It explodes a mile out to
          sea.


    323   INT. HARRIER - COCKPIT - DAY

          HARRY PULLS DANA into the cockpit, settling her on his lap.

                              HARRY
                    Don't touch the stick, baby.

          She stares at her father in amazement.  He banks away from the
          building, accelerating the jet.  He grins at her.  Raises one
          eyebrow.  Woggles the plane's wings.

                              HARRY
                    Hi, pumpkin.


          ONE YEAR LATER


    324   INT. TASKER HOUSE - NIGHT

          Dinner at home, and everybody's there.  We come in on the end
          of some story that everybody thinks is hysterical.

                              HELEN
                    ... you should have seen your
                    father, standing there all
                    covered with spaghetti sauce.  He
                    looked like such a dope.

                              HARRY
                    I told the guy---
                         (snorts, it's too
                          funny)
                    I told the guy, this isn't even
                    my order.

          Dana is laughing too, a part of it.  They are happy.  They are
          a family.  Dana gets up, her meal half-eaten as usual.

                              DANA
                    I'm done.

          She heads for the front door.

                              HARRY
                    I seem to remember something
                    about a history project that's
                    due tomorrow.

                              DANA
                         ( busted)
                    Dad.  You just think you know
                    everything, don't you?

          Dana trudges off to her room to do her homework.  The phone
          rings.  Helen answers.

                              VOICE
                    Boris and Doris?

                              HELEN
                         (calmly, signalling
                          Harry with her eyes)
                    Go ahead.


    325   INT. EMBASSY PARTY - NIGHT

          It is a black tie affair.  Very glitzy.  CAMERA SWOOPS over the
          guests, sipping champagne and dancing.  It is an embassy crowd,
          very international.  HARRY AND HELEN work their way through the
          crowd.  He is in tux, hair slicked back, looking rakish.  She
          is elegant in a low-cut gown and diamond choker.

          Harry scoops two glasses of champagne off a passing tray and
          hands her one.


    326   INT. VAN - NIGHT

          VERY CLOSE ON GIB, hunches in a dark van someplace nearby.  He
          speaks into his headset mike.

                              GIB
                    So, what's the scoop, team?  You
                    see your contact yet?


    327   INT. PARTY - NIGHT

          HELEN AND HARRY smile and nod as if they know people.  Speaking
          very low, Helen answer Gib via SUB-VOCAL transceiver.

                              HELEN
                    Not yet.  But we'll find him.

                              HARRY
                    Dance?

          He whirls her across the floor and the CAMERA PULLS BACK AND UP
          as they dance.

                                                      FADE OUT

                            The END