0c1274df8299049d4959ef8a1ea23a6a68e26f6e
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http://www.imsdb.com/scripts/Swordfish.html
SWORDFISH by Skip
. THE END
 Stanley Jobson (Hugh Jackman) is a hacker. Having served time for infecting the FBI's Carnivore program with a computer virus, he is now on parole but forbidden from touching computers. His alcoholic ex-wife Melissa (Drea de Matteo), who married a rich porn producer and is currently a part-time porn actress has sole custody over their daughter Holly, and a restraining order preventing him from visiting the latter. One day, he is solicited by Ginger Knowles (Halle Berry), speaking for her boss Gabriel Shear (John Travolta), for his hacking skills. He goes to meet Gabriel in Los Angeles, where he is put on the spot to crack a secure government server within a minute while simultaneously held at gunpoint and receiving fellatio. Successful, Gabriel offers Stanley $10Â million to program multi-headed worm, a "hydra", to siphon $9.5Â billion from several government slush funds.
Stanley begins work, learning that Gabriel leads Black Cell, a secret group created by J. Edgar Hoover to launch retaliatory attacks against terrorists that threaten the United States. He also privately discovers Ginger is a DEA agent working undercover, and further is surprised to discover a corpse that looks like Gabriel. He goes to see Holly home from school but finds he is being followed by FBI agent J.T. Roberts (Don Cheadle), who had previously caught Stanley. Roberts, though monitoring Stanley closely, is more interested in Gabriel as he does not appear on any government database, and after learning that another hacker, Axl Torvalds (Rudolf Martin), had been killed by Gabriel's men, warns Stanley to be cautious. Stanley opts to secretly code a back door in his hydra that reverses the money transfer after a short period. Meanwhile, Senator Reisman (Sam Shepard), who oversees Black Cell, learns the FBI has started tracking Gabriel and orders him to stand down. Gabriel refuses, and narrowly avoids an assassination attempt ordered by Reisman. Gabriel personally kills Reisman in revenge and continues his plan.
Stanley delivers the hydra to Gabriel and leaves to see Holly, only to find that Gabriel has killed Melissa and her husband and kidnapped Holly, framing Stanley. Stanley has no choice but to participate with the bank heist to get Holly back. Gabriel and his men storm a Worldbanc branch, and secure its employees and customers as hostages and fitting each with ball-bearing-based explosives similar to Claymore mines. When police and FBI surround the branch, Gabriel takes Stanley to the coffee shop across the street to meet with Roberts, but Gabriel spends the time to discuss the film Dog Day Afternoon and the nature of misdirection. Once back in the bank, Gabriel has one of his men escort a hostage to demonstrate the situation. A sniper kills the man, and other agents pull the hostage away from the bank, causing the bomb to detonate, ravaging the buildings and vehicles on the street and killing several people, a scene shown in medias res at the start of the film.
Gabriel instructs Stanley to launch the hydra, and turns Holly over to him once completed. However, Stanley's back door triggers before they can leave the bank, and Stanley is recaptured while Holly is rescued. Gabriel threatens to kill Ginger, who he knows is a DEA agent, unless Stanley re-siphons the money back to a Monte Carlo bank. Despite doing so, Gabriel shoots Ginger. Gabriel and his men load the hostages on a bus and demand a plane wait for them at the local airport, but while en route, the bus is lifted off by a S-64 Aircrane and deposited on a roof of a local skyscraper. Gabriel deactivates the bombs and departs with his surviving men on a waiting helicopter, which Stanley shoots down using a rocket-propelled grenade from the bus.
Roberts takes Stanley to verify the corpse they found, believing Gabriel was a Mossad agent while there was no record of a DEA agent named Ginger. Stanley recognizes the corpse as the one he discovered earlier and personally realizes that the whole scenario was misdirection. Gabriel had escaped a different route, and Ginger had been wearing a bulletproof vest and was working with Gabriel. Roberts arranges for Stanley to have full custody of Holly, and the two tour the US together. In Monte Carlo Gabriel and Ginger withdraw the money, and later watch as a yacht at sea explodes. Over the film's credits, a news report describes the destruction of the yacht, carrying a known terrorist, as the third such incident in as many weeks.
Stanley Jobson ( Hugh Jackman ) is a hacker . Having served time for infecting the FBI s Carnivore program with a computer virus , he is now on parole but forbidden from touching computers . His alcoholic ex-wife Melissa ( Drea de Matteo ) , who married a rich porn producer and is currently a part-time porn actress has sole custody over their daughter Holly , and a restraining order preventing him from visiting the latter . One day , he is solicited by Ginger Knowles ( Halle Berry ) , speaking for her boss Gabriel Shear ( John Travolta ) , for his hacking skills . He goes to meet Gabriel in Los Angeles , where he is put on the spot to crack a secure government server within a minute while simultaneously held at gunpoint and receiving fellatio . Successful , Gabriel offers Stanley $ 10Â million to program multi-headed worm , a hydra , to siphon $ 9.5Â billion from several government slush funds . Stanley begins work , learning that Gabriel leads Black Cell , a secret group created by J. Edgar Hoover to launch retaliatory attacks against terrorists that threaten the United States . He also privately discovers Ginger is a DEA agent working undercover , and further is surprised to discover a corpse that looks like Gabriel . He goes to see Holly home from school but finds he is being followed by FBI agent J.T . Roberts ( Don Cheadle ) , who had previously caught Stanley . Roberts , though monitoring Stanley closely , is more interested in Gabriel as he does not appear on any government database , and after learning that another hacker , Axl Torvalds ( Rudolf Martin ) , had been killed by Gabriel s men , warns Stanley to be cautious . Stanley opts to secretly code a back door in his hydra that reverses the money transfer after a short period . Meanwhile , Senator Reisman ( Sam Shepard ) , who oversees Black Cell , learns the FBI has started tracking Gabriel and orders him to stand down . Gabriel refuses , and narrowly avoids an assassination attempt ordered by Reisman . Gabriel personally kills Reisman in revenge and continues his plan . Stanley delivers the hydra to Gabriel and leaves to see Holly , only to find that Gabriel has killed Melissa and her husband and kidnapped Holly , framing Stanley . Stanley has no choice but to participate with the bank heist to get Holly back . Gabriel and his men storm a Worldbanc branch , and secure its employees and customers as hostages and fitting each with ball-bearing-based explosives similar to Claymore mines . When police and FBI surround the branch , Gabriel takes Stanley to the coffee shop across the street to meet with Roberts , but Gabriel spends the time to discuss the film Dog Day Afternoon and the nature of misdirection . Once back in the bank , Gabriel has one of his men escort a hostage to demonstrate the situation . A sniper kills the man , and other agents pull the hostage away from the bank , causing the bomb to detonate , ravaging the buildings and vehicles on the street and killing several people , a scene shown in medias res at the start of the film . Gabriel instructs Stanley to launch the hydra , and turns Holly over to him once completed . However , Stanley s back door triggers before they can leave the bank , and Stanley is recaptured while Holly is rescued . Gabriel threatens to kill Ginger , who he knows is a DEA agent , unless Stanley re-siphons the money back to a Monte Carlo bank . Despite doing so , Gabriel shoots Ginger . Gabriel and his men load the hostages on a bus and demand a plane wait for them at the local airport , but while en route , the bus is lifted off by a S-64 Aircrane and deposited on a roof of a local skyscraper . Gabriel deactivates the bombs and departs with his surviving men on a waiting helicopter , which Stanley shoots down using a rocket-propelled grenade from the bus . Roberts takes Stanley to verify the corpse they found , believing Gabriel was a Mossad agent while there was no record of a DEA agent named Ginger . Stanley recognizes the corpse as the one he discovered earlier and personally realizes that the whole scenario was misdirection . Gabriel had escaped a different route , and Ginger had been wearing a bulletproof vest and was working with Gabriel . Roberts arranges for Stanley to have full custody of Holly , and the two tour the US together . In Monte Carlo Gabriel and Ginger withdraw the money , and later watch as a yacht at sea explodes . Over the film s credits , a news report describes the destruction of the yacht , carrying a known terrorist , as the third such incident in as many weeks .
http://en.wikipedia.org/wiki/Swordfish_(film)
Swordfish (film)
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<pre>SWORDFISH
         by

     Skip Woods



     January 2001
Final Production Draft




<b>FOR EDUCATIONAL
</b><b> PURPOSES ONLY
</b><b>
</b><b>1   BLACKNESS                                                     1
</b>
    We hear OVER...

<b>                              GABRIEL (V.O.)
</b>                You know the problem with
                Hollywood? They make shit.
                Unbelievable, unremarkable shit.
                I'm not some grungy filmmaker-
                wannabee searching for
                existentialism through a haze of
                bong-smoke. It's easy to pick
                apart bad acting, short-sighted
                directing, or the purely moronic
                stringing together of words many
                of the studios term as prose. No,
                I'm talking the lack of realism.
                Realism. Not a pervasive element
                in the modern American cinematic
                vision.


<b>    FADE IN:
</b>
<b>    INT. STARBUCKS COFFEE SHOP - MORNING
</b>
    Three men sit at a window booth drinking coffee and
    talking. Two of the men sit on one side of the table;
    STANLEY is in his early thirties, AGENT ROBERTS, early
    forties. Both wear suits, the younger's is fairly
    expensive and well cut, the other's is polyester, enough
    said. The MAN across, however, is quite different. He
    is what they used to call a "cool-cat."

<b>                              GABRIEL (MAN)
</b>                Take Dog Day Afternoon for
                example. Arguably Pacino's
                greatest performance, excepting
                The Godfather, Part I, and
                Scarface, of course. A
                masterpiece of directing, easily
                Lumet's best. The acting, the
                script, cinematography, all top
                notch. But, they didn't push the
                envelope. What if in Dog Day,
                Sonny really wanted to get away
                with it? What if, and here's
                where it gets tricky. What if
                they'd started killing hostages?
                No mercy, no quarter, meet our
                demands or the cute blonde in the
                bell bottoms gets one in the back
                of the head, bam, splatter. What?
                Still no bus?
<b>                              (MORE)
</b>
<b>                                                    (CONTINUED)
</b><b>
</b><b>                                                              2.
</b>
<b>1   CONTINUED:                                                      1
</b>
<b>                               GABRIEL (CONT'D)
</b>                 How many innocent victims would
                 they let get sprayed across the
                 windows before the city reversed
                 its policy on hostage situations?
                 And this was 1976. No C.N.N., no
                 C.N.B.C., no M.T.V. No Internet.
                 Fast forward to the present, same
                 situation. Can you imagine the
                 feeding frenzy of the modern
                 media? In hours it would be the
                 top story from Boston to Budapest.
                 All caught in 150 millimeter zoom,
                 computer enhanced, and color
                 corrected. You would practically
                 taste the brain matter. Six
                 hostages die. Ten. Twelve.
                 Twenty. Thirty. Relentless. One
                 after another. All over a bus, a
                 plane, and a couple of million
                 dollars that were federally
                 insured.

    He sits, letting the pictures sink in, then:

<b>                               GABRIEL
</b>                 Just a thought. I mean it's not
                 really within the realm of
                 conventional cinema, but what
                 if...?

<b>                               ROBERTS
</b>                 You know, this movie of yours, I
                 don't think it would have worked.

<b>                                GABRIEL
</b>                 Really?   How come?

<b>                               ROBERTS
</b>                        (shrugs)
                 Audiences love happy endings.

<b>                               GABRIEL
</b>                 Pacino escapes. With the money.
                 Boyfriend gets the sex change
                 operation. They live happily ever
                 after.

    Stanley shakes his head.

<b>                                GABRIEL
</b>                 No?

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                             3.
</b>
<b>1   CONTINUED:    (2)                                              1
</b>
<b>                               STANLEY
</b>                 No.

<b>                               GABRIEL
</b>                 Homophobia?

    Stanley shakes his head.

<b>                               STANLEY
</b>                 Bad guy can't win. It's a
                 morality tale. One way or the
                 other, he's gotta go down.

<b>                                GABRIEL
</b>                 Oh, well. Life does tend to be
                 stranger than fiction.
                        (looking at watch)
                 Well, guys, gotta jet. This place
                 is kinda dead.

    CAMERA PANS AROUND the coffee shop. Not a soul in the
    place. We CONTINUE TO PAN AROUND 270 DEGREES TO the
    front door, which is open. Outside the open doorway are
    crouched a squad of heavily body-armored SWAT members,
    packed together, and aiming automatic weapons inside.


<b>    ANGLE ON GABRIEL
</b>
<b>                               GABRIEL
</b>                 Thanks for the coffee.

    He gets up. In his left hand, which has been hidden by
    the table until now, he is holding a strange-looking
    spring-loaded grip. Gabriel is looking back at them.
    Smiles.

<b>                               GABRIEL
</b>                 Rene Descartes is sitting in some
                 bar in Paris. Bartender says,
                 'Hey, you want another drink?'
                 Descartes says, 'I think not.'
                 And disappears.

    He smiles at his own joke, then turns and walks over to
    the front door.

<b>                               GABRIEL
</b>                 Move.

    No one even twitches.

<b>                               GABRIEL
</b>                 I won't ask again.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                             4.
</b>
<b>1   CONTINUED:    (3)                                             1
</b>
    He lifts up the device in his left hand.


<b>    ANGLE ON ROBERTS
</b>
    who nods his head. The SWAT team moves back, letting
    Gabriel out of the coffee shop.

<b>                               GABRIEL
</b>                 Thank you.

    Gabriel looks back at Stan sitting in the booth.

<b>                               GABRIEL
</b>                 Stanley... you coming?

    Stan slides from the booth as Gabriel exits the coffee
    shop --


<b>2   EXT. STARBUCKS COFFEE SHOP - DAY                              2
</b>
    SILENCE -- no sounds on the SOUNDTRACK.

    Gabriel and Stanley stop just outside the doorway.
    Gabriel dons a pair of hip little shades, then continues
    across the sidewalk and into the street.

    He nonchalantly looks up. Suddenly the THUMP of
    HELICOPTERS and the WAIL of SIRENS dominates the
    soundtrack.

    Pandemonium. HELICOPTERS RIP the sky, L.A. County PD and
    a bunch of news vultures. Squad cars block off both ends
    of the street while SWAT trucks, news vans, and looky-
    loos are packed together into the distance.

    Sharpshooters lean out of windows and snipers are
    positioned on every open rooftop. Hundreds of weapons
    are pointed at this man who saunters across the street as
    if he's on his way to Sunday service, without a care in
    the world.

    Slowly, Stanley follows Gabriel into the street.

    Gabriel steps up on the far sidewalk, a huge armored bus
    blocks most of the windows. He walks beside the bus,
    under a huge "WORLD BANC" sign, and through the glass
    front door, which shuts IN OUR FACE.


<b>3   INT. BANK - CLOSEUP - GABRIEL - DAY                           3
</b>
    He turns away from the window and we FOLLOW him.

<b>                                                  (CONTINUED)
</b><b>
</b><b>                                                                5.
</b>
<b>3   CONTINUED:                                                        3
</b>
    The interior of the bank looks like New Orleans on Fat
    Tuesday. Three Hummers sit in the middle of the floor,
    surrounded by broken glass. Between them rests a bright
    red Ferrari F50 (Gabriel's).

    All but one of the front windows of the bank, the one
    with the door in it, has been welded over with 3/4 inch
    plate steel.

    Over two dozen hostages lie face down on the floor, arms
    cable-tied behind their backs. Something has been duct-
    taped around their chests and each is wearing what
    appears to be a dog collar.

    The other occupants of the room are nine men. All of
    whom would look as if they were attending the fashion
    event of the year were it not for the automatic weapons
    each one carries.

<b>                                 GABRIEL
</b>                 How we doin'?

    One of the ARMED MEN finishes putting a collar on a
    young, normally good-looking-but-now-covered-in-mascara,
    whimpering blonde girl.

<b>                                 MARCO (ARMED MAN)
</b>                 Done.

<b>                                GABRIEL
</b>                 Good.   Take her out.

<b>    SUPERIMPOSE:    FRIDAY, OCTOBER 18     8:41:22...
</b>
    The front door opens and one of the suited men drags out
    the pretty blonde from earlier. She is sobbing and is in
    such grief she can't even walk.


<b>4   EXT. BANK - DAY                                                   4
</b>
    On the sidewalk, the suited man, his automatic weapon
    slung, holds her up for everyone to see.


<b>5   INT. BANK - DAY                                                   5
</b>
    Gabriel grabs his cell and dials.


<b>6   INT. STARBUCKS COFFEE SHOP - DAY                                  6
</b>
    Roberts sits in the Starbucks which has been transformed
    into a high-tech command center reading a newspaper.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                6.
</b>
<b>6   CONTINUED:                                                       6
</b>
    We cannot see the headlines. Federal and state officers
    scramble around handling problems. The PHONE RINGS.
    Assistant Director Bill Joy (A.D. JOY), an older-looking
    guy who looks more like an accountant than an assistant
    director of the FBI, is handed the phone.

<b>                               A.D. JOY
</b>                 Is everyone in position?

<b>                                SWAT LEADER
</b>                 Almost, sir.

<b>                                ROBERTS
</b>                        (looks up from
                         paper)
                 What are you doing?

    We PAN AROUND.

<b>                               A.D. JOY
</b>                        (to SWAT LEADER)
                 Get her at your first opportunity.

<b>                               SWAT LEADER
</b>                        (into mike)
                 High ground one and two. You
                 have a green light.

<b>                               ROBERTS
</b>                 I've seen what this man is capable
                 of --

<b>                                A.D. JOY
</b>                 The F.B.I. does not negotiate with
                 terrorists. I assumed you'd be
                 aware of that.
                        (answering phone)
                 Joy.

    Roberts picks up an extension.

<b>                               GABRIEL (V.O.)
</b>                 Don't talk, listen... When I made
                 my Dog Day Afternoon analogy, I
                 was not speaking metaphorically.
                 We have 22 hostages. Each has
                 been wrapped with 20 pounds of
                 C-four explosives.

<b>                                                      CUT TO:
</b><b>
</b><b>                                                                7.
</b>
<b>7    EXT. BANK                                                       7
</b>
     SWAT guys making their way to the roof of the bank.

<b>                               GABRIEL (V.O.)
</b>                 On top of that we have taped 15
                 pounds of stainless steel ball
                 bearings --


<b>8    INT. BANK - ANGLE ON GABRIEL                                    8
</b>
<b>                               GABRIEL
</b>                 -- making them the world's largest
                 walking Claymore mines.

<b>                                                      CUT TO:
</b>

<b>9    EXT. BANK - SHARPSHOOTERS                                       9
</b>
     aiming down at Gabriel's merc.

     The merc is holding up the weeping girl so everyone can
     see what Gabriel is talking about. Unbeknownst to him,
     red laser aiming dots appear on Gab's merc's chest.


<b>10   INT. BANK - DAY                                                 10
</b>
     Stanley is being held by two of the well-dressed men.


<b>     CLOSEUP ON GABRIEL
</b>
<b>                               GABRIEL
</b>                 Around her neck is a radio-
                 frequency electronic dog collar --


<b>11   INT. STARBUCKS - DAY                                            11
</b>
     Roberts stops short as he hears this.   He and Joy both
     look at each other.


<b>12   INT. BANK - DAY                                                 12
</b>
<b>                               GABRIEL
</b>                 Dog walks out of his yard, he gets
                 the shit shocked out of him.


<b>13   INT. STARBUCKS - DAY                                            13
</b>
     Hearing this, Roberts stands back up.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                 8.
</b>
<b>13   CONTINUED:                                                        13
</b>
<b>                                  ROBERTS
</b>                  Stop them --

     In SLOW MOTION, A.D. Joy jumps for his radio.

<b>                                  GABRIEL (V.O.)
</b>                  Same thing --


<b>14   INT. BANK - CLOSEUP - GABRIEL - DAY                               14
</b>
<b>                                GABRIEL
</b>                  -- their yard is this bank.      So,
                  don't fuck with me.


<b>15   EXT. BANK - SAME TIME                                             15
</b>
     SWAT members move into position along the peripheral.
     The merc turns toward them. The momentum swings his
     shouldered weapon upward in SLOW MOTION.


<b>16   INT. STARBUCKS - DAY                                              16
</b>
<b>                                A.D. JOY
</b>                         (into mike)
                  Hold your --


<b>17   EXT. BANK - SAME TIME                                             17
</b>
     The SWAT snipers take this weapon movement as an
     aggressive act and FIRE into the merc, the BULLETS
     RIPPING into him. He drops. A SWAT-armored vehicle
     rushes in -- one of the team jumps out, in an attempt to
     rescue the woman.


<b>18   INT. BANK - DAY                                                   18
</b>
<b>                                  STANLEY
</b>                  No!   Noooo!!


<b>19   EXT. BANK - DAY                                                   19
</b>
     Hysterical, the hostage runs back toward the bank,
     confusing the SWAT guy trying to rescue her. He reaches
     for her but she fights him. Finally, he grabs her around
     the waist and carries her on his shoulder into the street
     as she screams toward the bank for help.

<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                              9.
</b>
<b>19   CONTINUED:                                                     19
</b>
<b>     CLOSEUP - HIS FOOT (SLOW MOTION)
</b>
     as he steps off the sidewalk.


<b>     ANGLE ON GIRL (SLOW MOTION)
</b>
     She is screaming nooooo!


<b>     CLOSEUP - HIS FOOT (SLOW MOTION)
</b>
     as it continues its stride.


<b>     CLOSEUP - RADIO DOG COLLAR (SLOW MOTION)
</b>
     Around her neck.    The green light blinks to red.   BEEP.

<b>     NORMAL SPEED.
</b>
<b>     KABOOM!
</b>
     BALL BEARINGS RICOCHET against the plate steel of the
     bank.


<b>20   EXT. STARBUCKS COFFEE SHOP - DAY                               20
</b>
     The ball bearings bounce across the street and tap
     against the coffee shop.


<b>21   INT. STARBUCKS COFFEE SHOP - DAY (SLOW MOTION)                 21
</b>
     Everyone in the coffee shop looks at each other like,
     "What just happened?"


<b>22   EXT. STARBUCKS COFFEE SHOP - DAY                               22
</b>
     As ball bearings roll back into the street.

<b>                                                FADE TO BLACK.
</b>

<b>     FADE IN:
</b>
<b>     TITLE SEQUENCE:
</b>
<b>23   INT. CUSTOMS (LAX) - CLOSEUP ON AXL TORVALDS - DAY             23
</b>
<b>     SUPERIMPOSE:    3 DAYS EARLIER
</b>
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               10.
</b>
<b>23   CONTINUED:                                                      23
</b>
     AXL TORVALDS enters customs. A thirty-something European
     who could easily pass for a season regular on
     "Sprockets."

     We PULL BACK. Torvalds is watching anxiously as his bags
     are torn into like Christmas day at the Griswalds. The
     two CUSTOMS AGENTS eye his three laptops suspiciously.

<b>                                TORVALDS
</b>                         (heavy Finnish
                          accent)
                  Please be careful --

     -- one of the Agents cuts off his plea with a glance.

<b>                                TORVALDS
</b>                         (to himself, almost
                          inaudibly)
                  -- that equipment is quite
                  expensive.

     Torvalds is wary of time. After several moments his bags
     are being repacked when another passport is found.

     The customs official holds up two passports. ANOTHER
     CUSTOMS OFFICIAL takes them and walks over to Torvalds.

<b>                                ANOTHER CUSTOMS OFFICIAL
</b>                  Mr. Torvalds. Could you step
                  over here, please.

     Torvalds glances at his watch.    1:45 PM.

<b>                                TORVALDS
</b>                  How long am I going to be delayed?

<b>                                ANOTHER CUSTOMS OFFICIAL
</b>                  It'll be just a moment.

     Torvalds stands to the side, while two customs officials
     compare his passports. They step over to a computer
     terminal and punch in some data. It's 1:50 PM.

     Torvalds notices a customs department employee wheeling a
     cart of confiscated items out of a nearby service
     elevator. He pushes the cart out of the oversized
     elevator.

     Torvalds shoots a glance back to the two officials
     discussing his situation.

     Torvalds casually picks up his computer case and coolly
     walks over to the elevator.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                 11.
</b>
<b>23   CONTINUED:    (2)                                                 23
</b>
     Torvalds walks in just as the doors close.

     The customs officials conferring look around. Torvalds
     is gone. One of them looks up and sees the numbers
     changing above the elevator.

     The customs officials race up to the escalator to the --


<b>24   INT. MEZZANINE LEVEL                                              24
</b>
     Torvalds exits the elevator -- and coolly makes his way
     to the pedestrian walkway. He's halfway across it, when
     -- multiple security teams appear and converge on him
     from both ends.

     He's finally wrestled to the ground.

<b>                                 DARK SUIT #2
</b>                          (flipping a badge
                           in Torvalds' face)
                  Axl Torvalds. You are under
                  arrest.

<b>                                                       CUT TO:
</b>

<b>25   INT. BOARDROOM (WASHINGTON, D.C.) - DAY                           25
</b>
     SENATOR JAMES REISMAN -- R. (Georgia) strides confidently
     into a small, windowless boardroom.

<b>                                SENATOR REISMAN
</b>                  This better be important, you
                  pulled me out of session.

     DARWIN KAPLAN, the President's aide and one of the four
     men in the room, definitely the most intense, smiles
     thinly.

<b>                                KAPLAN
</b>                  Senator, I wouldn't have asked you
                  to come here if it wasn't.

     The Senator starts to sit down.    Kaplan turns toward the
     Senator.

<b>                                KAPLAN
</b>                  Senator, we just received a
                  communication that Axl Torvalds
                  was intercepted entering the
                  continental U.S.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               12.
</b>
<b>25   CONTINUED:                                                      25
</b>
<b>                                SENATOR REISMAN
</b>                  When?

<b>                                KAPLAN
</b>                  Within the last two hours.
                  According to our source inside the
                  F.B.I., he was nabbed coming
                  through customs at L.A.X.
                  Alone...

<b>                                SENATOR REISMAN
</b>                  Do they know who they are dealing
                  with?

<b>                                KAPLAN
</b>                  It is unlikely, sir. It was a
                  routine check and Torvalds freaked
                  out. They just got lucky.

<b>                                 SENATOR REISMAN
</b>                  This ain't good, boys. The Vortex
                  has used Torvalds before. What do
                  the feds know?

<b>                                KAPLAN
</b>                  Nothing as of yet. He's refusing
                  to speak English and the Finnish
                  consulate has already contacted
                  the State Department...

<b>                                SENATOR REISMAN
</b>                  So we haven't been compromised?

<b>                                KAPLAN
</b>                  We're not sure. We're working on
                  that right now.

<b>                                 SENATOR REISMAN
</b>                  You better get sure real quick,
                  son, 'cause someone's cock's
                  liable to end up on the block on
                  this one. And I promise you it
                  won't be mine.

<b>                                KAPLAN
</b>                  Senator, I think we'll be okay
                  here --

<b>                                SENATOR REISMAN
</b>                  I don't fucking pay you to think,
                  Kaplan. I pay you to keep me
                  informed. I know the Vortex.
                  That's why I voted against using
                  him on American soil.
<b>                                (MORE)
</b><b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               13.
</b>
<b>25   CONTINUED:    (2)                                               25
</b>
<b>                                SENATOR REISMAN (CONT'D)
</b>                  It's like using the Ebola virus to
                  cure a cancer patient. Son, what
                  do you think's going to happen if
                  he starts tying up loose ends.

     They look at each other.

<b>                                 KAPLAN
</b>                  Yessir.   I understand.

<b>                                                     CUT TO:
</b>

<b>26   EXT. MIDDLE OF NOWHERE - DAY                                    26
</b>
     We are indeed in the middle of nowhere, no nothing as far
     as you can see. We CONTINUE TO CRANE UP, a $140,000
     Ferrari Modena flies down the road in a cloud of
     suspended gravel toward Stanley's dilapidated, piece-o'-
     crap trailer.


<b>27   EXT. TRAILER - ROOF - DAY                                       27
</b>
     Stan stands on the roof of his trailer, which was a
     dilapidated shack in the 1950s and now is a lot worse.     A
     chained but scruffy-looking Rottweiler runs around in
     front of the trailer.

     Stan looks completely different than he did in the
     opening sequence. He hasn't taken very good care of
     himself. His hair is long, and right now standing on
     end. He is wearing nothing but a dirty towel, and is
     slicing golf balls off the roof. Whack.

     As the Ferrari drives up he begins hitting golf balls at
     it, but he just isn't very good. Nevertheless, after a
     dozen bad hits, a lucky shot ricochets off the aluminum
     hood.


<b>     CLOSEUP - FERRARI HOOD
</b>
<b>     CLANG!
</b>

<b>     BACK TO SCENE
</b>
     Stan smiles as the car slides to a halt in the gravel
     driveway, and turns back to his "work."

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                              14.
</b>
<b>27   CONTINUED:                                                     27
</b>
<b>     ANGLE ON STANLEY
</b>
     As we hear the DOOR SHUT and SOMEONE COMES UP the
     aluminum extension ladder.

     A few moments later, in SLOW MOTION, GINGER appears at
     the top of the ladder and steps onto the trailer's roof.
     Stan turns around.

     She is what the hack writers of the Thirties would call a
     vision. Thesauruses could be exhausted searching for
     adjectives that do her justice.

     In the low-rent light of Stanley's white trash haven, she
     is, by definition, a goddess.

<b>                                STANLEY
</b>                  Who are you supposed to be?

     WHACK (slice).

     She lights a cigarette, inhales deeply, then exhales.

<b>                                GINGER
</b>                  Hello, Stanley.

     She knows his name.

<b>                                   GINGER
</b>                  I'm Ginger.

<b>                                   STANLEY
</b>                  Is that right?

     WHACK (slice).


<b>                                GINGER
</b>                  For someone the N.S.A. has listed
                  as the most dangerous hacker in
                  America, you sure don't look like
                  much.

     WHACK (slice).

<b>                                GINGER
</b>                  Don't look so surprised. I know
                  everything there is to know about
                  you, Stan. From your mom's maiden
                  name to how big your...

     She glances downward then back up.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               15.
</b>
<b>27   CONTINUED:    (2)                                               27
</b>
<b>                                GINGER
</b>                  Bank account is.

<b>                                STANLEY
</b>                  How'd you get past my dog?

<b>                                  GINGER
</b>                         (cute)
                  Boys like me.

<b>                                 STANLEY
</b>                  Great.   What are you selling
                  again?

     WHACK (slice).

<b>                                GINGER
</b>                  Did I say I was selling something?
                  I'm here to help you, Stan. Look
                  at you, you're a mess.

     WHACK (slice).

<b>                                GINGER
</b>                  My employer wants to meet you.

     WHACK (slice).

<b>                                GINGER
</b>                  You're not very good at this, are
                  you?

<b>                                STANLEY
</b>                  You're fucking up my chi.

<b>                                GINGER
</b>                  Can I see that?

     Begrudgingly he hands her the club. She tees up a ball,
     pulls up her skirt far enough to reveal thong, and whack,
     hits a ball that Tiger Woods would envy. CLANG.

     She smiles, hands him the club back and pulls down her
     skirt.

<b>                                GINGER
</b>                  You need to straighten your left
                  arm. You're bending it.

     He looks at her.

<b>                                  GINGER
</b>                  Trust me.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               16.
</b>
<b>27   CONTINUED:    (3)                                               27
</b>
     He does and the ball goes flying 200 yards, perfect,
     whacking a fridge with "200 YARDS" painted on it. CLANG!

     Stan looks at the club, then tosses it to the ground,
     climbing back down an aluminum extension ladder that
     leads up through a makeshift hatch on the roof.


<b>28   INT. KITCHEN                                                    28
</b>
     She follows but Stan ignores her and walks into his
     bedroom.

     She walks over, opens, and reaches into the fridge --

<b>                                 GINGER
</b>                  This is not a nice place you have
                  here, Stanley.

     -- and pulls out a beer --

<b>                                GINGER
</b>                  I've only been here a few minutes
                  and I'm already starting to feel
                  sorry for myself.

     She walks into:


<b>29   INT. LIVING ROOM - DAY                                          29
</b>
     Stan walks back in, looking for semi-clean clothes.

<b>                                STANLEY
</b>                  You're wasting your time. I even
                  touch a computer, I go straight to
                  Leavenworth, do not pass go, do
                  not collect 200 dollars. Whatever
                  I was...

     Stanley, pulling on his pants, lets the sentence hang,
     unfinished.

     He's putting on his shoes. She squats down in front of
     him, resting her hand on his leg.

<b>                                GINGER
</b>                  Stanley, think about it, they
                  still teach your techniques at
<b>                  M.I.T.
</b>
     She smiles up at him, then takes a long drink of her
     beer. Stan stares at her a moment, then...

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                              17.
</b>
<b>29   CONTINUED:                                                     29
</b>
<b>                                GINGER
</b>                  I'm not here to suck your dick,
                  Stanley, you can sit around doing
                  the martyr thing as long as you
                  like. He'll pay you just to meet
                  you.

<b>                                STANLEY
</b>                         (smiles)
                  I gotta go to work.

<b>                                GINGER
</b>                  Oh that's right, and fine work it
                  is, too.
                         (beat)
                  Stanley...
                         (beat)
                  Have you spoken to Holly lately?

     She just dropped a 20 megaton thermonuclear warhead into
     Stanley's universe.


<b>30   EXT. STANLEY'S TRAILER - DAY                                   30
</b>
     Stanley practically pitches her down the steps of his
     trailer and slams the door.

<b>                                GINGER
</b>                  Shit...


<b>31   INT. MALIBU HOUSE - DAY                                        31
</b>
     A TELEPHONE RINGS in a multi-zillion dollar Malibu beach
     house. A WOMAN, late twenties, grabs the receiver. Her
     voice is of perfect timbre and accentless.

<b>                                MELISSA (WOMAN)
</b>                  Hello.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               18.
</b>
<b>31   CONTINUED:                                                      31
</b>
<b>                                  STANLEY (V.O.)
</b>                  Melissa...
                         (beat)
                  Holly home?

<b>                                MELISSA
</b>                         (New York starts to
                          invade her accentless
                          accent)
                  Stanley. Why are you calling
                  here?


<b>32   INT. STANLEY'S TRAILER - ANGLE - STANLEY                        32
</b>
     on phone. He stands in front of his now closed fridge.
     It is covered with pictures of his daughter, Holly.

<b>                                STANLEY
</b>                  I want to talk with Holly.

     INTERCUT BETWEEN the two.

     Melissa's accent continues to travel eastward from
     Midwest flat to full tilt Long Island.

<b>                                  MELISSA
</b>                  It's...
                         (looks at her watch)
                  It's twelve-thirty, Stanley.
                  She's in school. You know it's
                  illegal for you to talk to her.

<b>                                STANLEY
</b>                  Don't do this, Mel. It's not good
                  for Holly --

<b>                                MELISSA
</b>                  How the hell would you know what
                  is or isn't good for my daughter?
                  You've spent the last two years in
                  prison.

<b>                                  STANLEY
</b>                  Mel --

<b>                                MELISSA
</b>                  Stop calling me that, Stanley.

<b>                                STANLEY
</b>                  I just want to see my baby.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                19.
</b>
<b>32   CONTINUED:                                                       32
</b>
<b>                                MELISSA
</b>                  Well, she doesn't want to see you,
                  Stanley, and I swear to fucking
                  God, if you contact her, I'll have
                  Larry's attorney throw you into a
                  hole so deep and dark it'll make
                  Leavenworth seem like two weeks in
                  Vegas; during which I'll
                  personally pay two ball-busting
                  skin-heads to --

<b>                                STANLEY
</b>                  Wow, Mel, you can take the girl
                  out of the trailer park, but you
                  can't take the trailer park out of
                  the girl.

     She regains control.       Her voice is accentless once again.

<b>                                MELISSA
</b>                         (exhaling)
                  I will not let myself be
                  manipulated by you, Stanley.
                  Larry's her father now.

<b>                                STANLEY
</b>                  Larry's the porn king --

<b>                                MELISSA
</b>                  Larry's a film financier, a good
                  husband, and an astute
                  businessman. What films he's
                  involved in are a function of
                  profitability and none of your
                  business.

     She is now downright icy.

<b>                                MELISSA
</b>                  Get help, Stanley, get into a
                  program, get a therapist, get a
                  dog, but whatever you do, stay
                  away from my child.

<b>                                  STANLEY
</b>                  Your child?    She's our child.

<b>                                MELISSA
</b>                  She will never be your child.
                  You'll never have the kind of
                  money to match Larry's lawyers in
                  court. Forget Holly.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                              20.
</b>
<b>32   CONTINUED:    (2)                                              32
</b>
<b>     CLICK.
</b>
     The PHONE GOES DEAD.

     Stanley freaks, beats the receiver against the fridge,
     again, and again. Then, he calmly hangs up the phone.


<b>33   EXT. STANLEY'S TRAILER - DAY                                   33
</b>
     Stanley walks down the steps of his trailer. Ginger sits
     on the hood of her car in all her estrogenic glory,
     smoking and petting Stan's dog.

<b>                                STANLEY
</b>                  What are you doing here?

     Stanley's dog leans against her, happy.

<b>                                  STANLEY
</b>                           (to dog, like
                            "traitor")
                  Judas.

<b>                                GINGER
</b>                  Hello, Stanley.

     She smiles at him. He smiles back, about ready to stick
     her in the trunk of her car.

<b>                                STANLEY
</b>                  Look, I'm beginning to lose my
                  sense of humor about --

<b>                                GINGER
</b>                  Let's cut through the bullshit,
                  Stan. If you ever want to have a
                  chance in hell of getting your
                  daughter back you'll shut up and
                  listen. Unless of course you want
                  to stay here in your pathetic,
                  loser life while she learns what
                  it's like to be a fluffer in one
                  of her new daddy's videos.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               21.
</b>
<b>33   CONTINUED:                                                      33
</b>
<b>                                 STANLEY
</b>                  Do me the courtesy of not
                  confusing your own childhood with
                  my daughter's.

<b>                                GINGER
</b>                  Look at your situation, Stanley.
                  For twenty months you've been in
                  court six times, each time your
                  custody case has been thrown out.
                  Your situation doesn't look good,
                  sweetheart.

     She blows smoke at him, thinking, then whips out her
     trump card.

<b>                                GINGER
</b>                  How much would it cost to retain
                  the best family lawyer in the
                  country and regain custody of your
                  daughter?

<b>                                STANLEY
</b>                  All the way through the jury
                  trial?

<b>                                 GINGER
</b>                  Yeah.

<b>                                 STANLEY
</b>                  A lot.

     She pulls out a large manila envelope. Opens it and
     dumps the rubber-banded stacks of hundreds onto the
     ground.

<b>                                GINGER
</b>                  This should get you started.

     Stanley just stares at the money.     He looks up at Ginger.

<b>                                GINGER
</b>                  Whattaya have to lose? Just meet
                  him. One time. That's it. You
                  don't like the setup, walk away.

<b>                                 STANLEY
</b>                  That's it?

<b>                                 GINGER
</b>                  That's it.   And you keep the
                  money.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               22.
</b>
<b>33   CONTINUED:    (2)                                               33
</b>
     She smokes, letting it all sink in. She puts out her
     cigarette. They just stare at each other. She smiles.

<b>                                                       FADE TO BLACK.
</b>
<b>     FADE IN:
</b>
<b>34   INT. FBI INTERROGATION ROOM - NIGHT                             34
</b>
     Torvalds sits at a table in a room with a two-way mirror.
     To his left, a three-piece suited Euroweasel (obviously
     his LAWYER) nurses a steaming cup of coffee while
     providing air cover from the two interrogating FBI
     Agents.

     The table is covered with empty coffee cups and cigarette
     carcasses. Roberts eases quietly into the room in mid-
     interrogation.

     Torvalds says something in Finnish to his Lawyer.

<b>                                AGENT #1
</b>                  What did he say?

     Torvalds again speaks to his Lawyer in Finnish.

<b>                                AGENT #2
</b>                  Your client is wanted on 24 counts
                  of electronic crimes in seven
                  different countries --

<b>                                LAWYER
</b>                  Finland does not recognize these
                  allegations as crimes. Your
                  laws --

<b>                                AGENT #1
</b>                  Do you see a Finnish flag hanging
                  on the wall, Ikea boy?

     Torvalds speaks to his Lawyer.

<b>                                AGENT #1
</b>                  What did he say?

<b>                                LAWYER
</b>                  He said Ikea is Swedish.

<b>                                AGENT #1
</b>                  He understands English?

     The FBI Agent's head is now close to imploding.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               23.
</b>
<b>34   CONTINUED:                                                      34
</b>
<b>                                ROBERTS
</b>                  Okay... Guys, why don't you give
                  me a few minutes here?

     They turn to see Roberts smiling.

<b>                                 AGENT #2
</b>                  Uh, sir...

<b>                                 ROBERTS
</b>                  It's okay.   Just a couple of
                  minutes.

<b>                                 AGENT #1
</b>                  Yessir.

<b>                                AGENT #2
</b>                  You've fucked up now, Hamlet.

<b>                                ROBERTS
</b>                         (never taking his
                          eyes off Torvalds)
                  And Michaels.

<b>                                 AGENT #2
</b>                  Yessir.

<b>                                ROBERTS
</b>                  Hamlet was a Dane.

<b>                                 AGENT #2
</b>                  Adane?

<b>                                 ROBERTS
</b>                  Forget it.

     Roberts sits down in a chair facing Torvalds.     He stares
     at him a moment, just smiling, then...

<b>                                ROBERTS
</b>                  Why would the number one cracker
                  in the world risk life
                  imprisonment to enter the
                  continental U.S.?

<b>                                LAWYER
</b>                  My client has repeatedly reserved
                  his right not answer any questions
                  at this time.

     Torvalds looks at Roberts' badge and says something in
     Finnish, the only recognizable word being "Roberts." The
     attorney and Torvalds both laugh. Roberts looks at the
     attorney.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                           24.
</b>
<b>34   CONTINUED:    (2)                                           34
</b>
<b>                                LAWYER
</b>                  He told me to tell Mister Roberts
                  that he is quite fond of 'The
                  X-Files.'

     Again they smile. Roberts looks at the lawyer's cup of
     steaming coffee and with one finger pushes it over into
     the lawyer's lap.

<b>                                ROBERTS
</b>                  You need another cup of coffee --

<b>                                LAWYER
</b>                         (jumping up in
                          great pain)
                  Goddammit!

     Roberts grabs him by the collar and slams him into the
     wall, then pushes him out the door with a kick in the
     ass. He grabs the briefcase and tosses it out after him
     and locks the door.

     He turns on Torvalds, smacking him across the face. He
     pushes him into the wall and holds his badge in front of
     him.

<b>                                ROBERTS
</b>                  Until a year ago I was head of the
                  largest task force on cyber-
                  criminals in the entire world.
                  But, I burned out. It happens. I
                  snapped. I shot a suspect in the
                  fucking hand. Accident. Do you
                  know how hard it is to work a
                  keyboard with one hand?

<b>                                 TORVALDS
</b>                  Whatever you can do to me, he can
                  do worse. I'm already dead. The
                  only place I stand a chance is
                  back in my country. I have
                  friends there.

<b>                                ROBERTS
</b>                  I tell you what, you tell me what
                  I want to know and I guarantee
                  you'll be on the next flight to
                  Finland. First class. Courtesy
                  of the U.S. Government.

     Torvalds thinks quietly.
<b>
</b><b>                                                                25.
</b>
<b>35   INT. VIEWING ROOM - NIGHT                                        35
</b>
     Two FBI agents (BAD AGENTS #1 & 2) watch the
     interrogation through a two-way mirror. One of the
     agents looks surprisingly like Gabriel's merc that
     carried the young blonde girl killed outside the bank
     earlier.

<b>                             TORVALDS (V.O.)
</b>                      (over speaker)
               I'll tell you what I know.

     The Agents look at each other.    Bad Agent #1 dials his
     cell phone.

<b>                             BAD AGENT #1
</b>                      (into his cell)
               Yes, this is Assistant Director
               Joy, would you find Agent Roberts.
               It's important that I speak with
               him as soon as possible. Thank
               you.


<b>     INT. FBI INTERROGATION ROOM - NIGHT
</b>
<b>                             ROBERTS
</b>               Who is he?


<b>36   EXT. PRAGUE NIGHTCLUB - NIGHT                                    36
</b>
     A yellow Lamborghini Diablo drives up. In SLOW MOTION
     Gabriel steps out of the car, wind whipping his full-
     length, black Gucci overcoat.

<b>                             TORVALDS (V.O.)
</b>               He exists in a world beyond your
               world. What we only fantasize, he
               does. He lives a life where
               nothing is beyond him.


<b>37   INT. INTERROGATION ROOM - NIGHT                                  37
</b>
<b>                             TORVALDS
</b>               But it is all an act.


<b>38   EXT. PRAGUE NIGHTCLUB - NIGHT                                    38
</b>
     Gabriel walks through the crowd as if a celebrity --

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                 26.
</b>
<b>38   CONTINUED:                                                        38
</b>
<b>                                TORVALDS (V.O.)
</b>                  For all his charisma and charm.
                  For all his wealth and expensive
                  toys.

     -- exchanging kisses and the lingering of hands, as he
     slides through parting seas of beautiful people.

<b>                                TORVALDS (V.O.)
</b>                  Beneath it all he is a driven,
                  unflinching, calculating machine,
                  who takes what he wants, when he
                  wants, then disappears --

<b>                                                       CUT TO:
</b>

<b>39   INT. INTERROGATION ROOM - ANGLE ON TORVALDS - NIGHT               39
</b>
<b>                                TORVALDS
</b>                  -- It works like this.


<b>40   EXT. EMPTY SKY - NIGHT                                            40
</b>
<b>                                TORVALDS (V.O.)
</b>                  I fly to where I am to meet him.
                  He sends one of his people to meet
                  me.

     A BOEING 777 SCREAMS overhead. We TILT DOWN. Stanley
     and Ginger walk out of LAX. A white LIMO IDLES directly
     in front of them.

     Stanley is wearing a black T-shirt which proclaims in
     large white letters across his chest, in true Scarlet
     Letter fashion, "LOSER!"

<b>                                TORVALDS (V.O.)
</b>                  He tells me what he needs. I do
                  my job, I'm paid.


<b>41   INT. PRAGUE - NIGHT                                               41
</b>
     Upstairs on a lavish balcony Gabriel looks at the crowd.
<b>     PUSH INTO --
</b>

<b>     CLOSEUP - GABRIEL
</b>
     smiling.

<b>                                 TORVALDS (V.O.)
</b>                  And I leave.
<b>
</b><b>                                                               27.
</b>
<b>42   INT. FBI INTERROGATION ROOM - NIGHT                             42
</b>
<b>                             ROBERTS
</b>               That's a real nice story.    But you
               haven't given me shit.

     Torvalds knows this and smiles at Roberts arrogantly.

     The door opens, an FBI AGENT sticks his head in.

<b>                             AGENT #1
</b>               Excuse me, sir... you have a call.

<b>                             ROBERTS
</b>               So, take a message.

<b>                             AGENT #1
</b>               It's Assistant Director Joy, he
               said it's important.

<b>                             ROBERTS
</b>               At least it's not my wife.
                      (to Torvalds)
               You need to think about what else
               you know.
                      (then, to Agent #1)
               Watch him.

     Roberts walks out of the room.    The FBI Agent positions
     himself outside the door.


<b>43   INT. HALLWAY - NIGHT                                            43
</b>
     Roberts walks out of the room.    Torvalds' attorney is
     there.

<b>                             LAWYER
</b>               You will be hearing from my
               gover --

<b>                             ROBERTS
</b>               Shut up.

     Roberts walks down the hall. The attorney, pissed, walks
     back into the interrogation room.


<b>44   INT. VIEWING ROOM - NIGHT                                       44
</b>
     One of the two Agents watches the door, the other, Bad
     Agent #2 steps over to the two-way mirror.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                             28.
</b>
<b>44   CONTINUED:                                                    44
</b>
     Torvalds talks to his attorney in Finnish. Apparently
     his attorney is trying to convince him of something.
     Torvalds, unfazed, walks over to the one-way mirror.

     PULL BACK FROM Torvalds to reveal Bad Agent #2 calmly
     screwing a silencer on to his .45. Torvalds leans closer
     to the glass.

     Bad Agent #2 sticks the silenced barrel of the gun up
     against the glass -- right between the eyes of Torvalds.
     Bad Agent #2 moves the barrel up and down between
     Torvalds face and neck.


<b>45   INT. INTERROGATION ROOM - SAME TIME                           45
</b>
     Torvalds looks smugly into the glass.    He lifts his hand,
     holding up his middle finger.


<b>46   INT. VIEWING ROOM - NIGHT                                     46
</b>
     Bad Agent #2 moves his aim to Torvalds' tonsils.   He
     depresses the trigger slightly.


<b>47   INT. INTERROGATION ROOM - SAME TIME                           47
</b>
     Torvalds, middle finger in the air, smiles. Unbeknownst
     to him however, a tiny red aiming laser has zipped
     through the glass and is now positioned as a dot on
     Torvalds' throat.


<b>48   INT. VIEWING ROOM - NIGHT                                     48
</b>
     Satisfied with the placement he PULLS the TRIGGER...
<b>     THUMP! THUMP! THUMP! THUMP!
</b>

<b>49   INT. HALLWAY - NIGHT                                          49
</b>
     Roberts walks down the hall and turns right into --


<b>50   INT. COFFEE ROOM - NIGHT                                      50
</b>
     Roberts picks up the phone.

<b>                                 ROBERTS
</b>                  This is Roberts, I have a call
                  from A.D. Joy.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                 29.
</b>
<b>50   CONTINUED:                                                        50
</b>
<b>                                 FBI OPERATOR (V.O.)
</b>                  Hold, sir.

     Finally --

<b>                                 A.D. JOY (V.O.)
</b>                  Joy.

<b>                                 ROBERTS
</b>                  Roberts.   You needed me.

<b>                                A.D. JOY (V.O.)
</b>                  What do you mean?

<b>                                ROBERTS
</b>                  You didn't call me?

<b>                                A.D. JOY (V.O.)
</b>                  You just called me...

     Realization slowly hits him, he drops the phone and runs
     from the room.


<b>51   INT. HALLWAY - SAME TIME                                          51
</b>
     Roberts runs down the hall and into:


<b>52   INT. INTERROGATION ROOM - NIGHT                                   52
</b>
     Roberts finds Torvalds and his attorney dead.     Roberts
     looks into the mirror.

     Six clean bullet holes perforate his reflection.

<b>                                 ROBERTS
</b>                  Shit!


<b>53   INT. PRAGUE NIGHTCLUB - NIGHT                                     53
</b>
     A huge, lavish, converted theater in downtown Los
     Angeles. A 21st Century version of 54 on equal overdoses
     of steroids and acid.


<b>54   INT. VIP SECTION - NIGHT                                          54
</b>
     Stanley and Ginger walk into a large area with individual
     private booths in small rooms around the perimeter. The
     rooms have the ability to be closed off by drawing huge,
     thick velvet drapes.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                              30.
</b>
<b>54   CONTINUED:                                                     54
</b>
<b>                                GINGER
</b>                  I wish you'd let me buy you a
                  suit.

<b>                                STANLEY
</b>                  I'm happy with what I'm wearing.

<b>                                GINGER
</b>                  You have no self-esteem, Stanley.

<b>                                      STANLEY
</b>                            (dryly)
                  I know.

     They walk into one of the booths in the back. Sitting
     around a large, oval table is our antihero, Gabriel
     Shear, surrounded by a handful of his crew and a gaggle
     of beautiful model-types.

     Ginger kisses Gabriel and with a healthy exchange of
     fluids, then...

<b>                                      GINGER
</b>                  Miss me?

     Gabriel smiles, then looks back at Stanley.

<b>                                GINGER
</b>                  Gabriel, Stanley. Stanley,
                  Gabriel.

     Gabriel just stares.

<b>                                GABRIEL
</b>                         (very familiar)
                  Big Stan. Nice suit.

<b>                                      STANLEY
</b>                  Thanks.

<b>                                GABRIEL
</b>                  You know, they say it's the
                  clothes that make the man...

<b>                                      STANLEY
</b>                  You buy it?

<b>                                GABRIEL
</b>                  Hope not.
                         (then)
                  Buy you a drink?

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               31.
</b>
<b>54   CONTINUED:    (2)                                               54
</b>
<b>                                STANLEY
</b>                  I flew fifteen hundred miles for
                  this meeting, how 'bout we get to
                  the point.

<b>                                GABRIEL
</b>                  Actually you flew 1500 miles for
                  100 grand. But that's not the
                  point.

     Stanley sits down.    Gabriel pours Stan a glass of Crown.

<b>                                GABRIEL
</b>                  I heard this story about this
                  young hacker who made a virus that
                  broke the F.B.I.'s Carnivore
                  program that was actively reading
                  every subscriber's E-mail and
                  scrambled the systems. He did
                  what the federal judges wouldn't
                  do and kept the government out of
                  our Privacy.

<b>                                STANLEY
</b>                  I think I heard that. Story is he
                  went to jail and the federal
                  Carnivore program is back in full
                  swing. It was a real tragedy.
                  What can I do for you?

     Changing the subject.

<b>                                GABRIEL
</b>                  Stanley, meet Helga.

     Gabriel smiles.

     The beautiful WOMAN to Stanley's right slides closer.

<b>                                HELGA (WOMAN)
</b>                         (heavily accented)
                  Hi, Stanley.

     Stanley looks at her, she's a knockout; artificially
     perfect. He looks back at Gabriel.

<b>                                STANLEY
</b>                  Look, I don't have a lot of
                  patience for this --

<b>                                GABRIEL
</b>                  Stanley, we have a problem, maybe
                  you can help us out.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                 32.
</b>
<b>54   CONTINUED:    (3)                                                 54
</b>
     Stan looks around; everyone is smiling.       Helga moves
     closer to him.

<b>                                GABRIEL
</b>                  Take a look at this.

     He is handed an open laptop, it glows. He sets it on the
     table and spins it around in front of Stanley.

<b>                                STANLEY
</b>                         (like an alcoholic
                          faced with a fifth
                          of tequila)
                  You know I can't touch that.

     Helga pours a shot of tequila.

<b>                                HELGA
</b>                  You like tequila, Stanley?

     Helga shoots the tequila, then turns to Stanley, places
     her lips against his. The gold liquid drips from their
     lips as she spits it into Stanley's mouth.

     He pushes her away, breaking the liplock, and swallowing
     the tequila. She licks it from his face.

<b>                                GABRIEL
</b>                  No need for modesty, we're all
                  friends here, Stanley.

<b>                                STANLEY
</b>                  This is bullshit. I came --

<b>                                GABRIEL
</b>                  You want something from me, amigo,
                  I want something from you. D.O.D.
                  dBase, 128 bit R.S.A. encryption.
                  Whattaya think? Impossible?

     Stanley's having a little trouble concentrating on
     Gabriel.

<b>                                STANLEY
</b>                  Nothing's impossible.

     Helga begins sucking on Stanley's fingers.      He pulls them
     away.

<b>                                GABRIEL
</b>                  So it can be done? Maybe slide in
                  a Trojan horse hiding a worm?

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                              33.
</b>
<b>54   CONTINUED:    (4)                                              54
</b>
<b>                                STANLEY
</b>                  Something like that. Is this an
                  interview?

<b>                                GABRIEL
</b>                  Sort of. Marco, let's give him
                  some incentive.

     The drapes close. Two of Gabriel's crew step out. Marco
     yanks out a .40 caliber Glock and quickly screws a well-
     used silencer onto the end. Marco walks around behind
     Stanley.

<b>                                STANLEY
</b>                         (now totally confused)
                  What are you doing?

     Helga smiles, then drops her head into Stanley's lap.    We
     hear his PANTS UNZIP.

<b>                                GABRIEL
</b>                  Relax, Stanley.

     He has to go with it.

<b>                                 GABRIEL
</b>                  I've been told the best crackers
                  in the world could do this in
                  sixty minutes. Unfortunately,
                  I need someone who can do it in
                  sixty seconds.

<b>                                STANLEY
</b>                  You're kidding...

<b>                                GABRIEL
</b>                  'Fraid not.

     Stan realizes now no one is smiling.    He grabs the blonde
     by the hair but can't pull her up.

<b>                                GABRIEL
</b>                  Forty-five seconds. Time is a
                  wasting, big guy.

     The silencer is pressed into the back of his head.
     Stanley tries to focus on the screen. Stanley sucks air
     through his teeth, trying to focus.

<b>                                GABRIEL
</b>                  You have thirty seconds, Stanley.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                  34.
</b>
<b>54   CONTINUED:    (5)                                                  54
</b>
     Stanley gives up on trying to get her up and his hands
     start flying over the keyboard. We INTERCUT the ACTION
     WITH a CLOSEUP of Stanley's hands working the keyboard,
     and a CLOSEUP of Gabriel, and a CLOSEUP of the LCD screen
     which reads in flashing red letters --

<b>     "ACCESS DENIED."
</b>
<b>                                GABRIEL
</b>                  She's very good, isn't she,
                  Stanley?

     Tension builds as Stanley continues to work the keyboard.

<b>     "ACCESS DENIED."
</b>
<b>                                GABRIEL
</b>                  C'mon, Stanley. 20 seconds.

<b>     "ACCESS DENIED."
</b>
<b>                                   GABRIEL
</b>                  Fifteen.

<b>     "ACCESS DENIED."
</b>
<b>                                   GABRIEL
</b>                  Ten... Nine...

     Faster and faster.       "ACCESS DENIED."

<b>                                GABRIEL
</b>                  Three... Two...

<b>     "ACCESS DENIED."
</b>
     He grabs her head.       She doesn't come up.   The screen
     flashes:

<b>     "ACCESS DENIED."
</b>
<b>                                GABRIEL
</b>                  Too bad, Stanley. Ya gotta die.

     Marco puts the silencer to his eye.

<b>                                   STANLEY
</b>                  Wait... !

     CLICK. The GUN is empty. Stanley tries to catch his
     breath. Helga lifts up her head. Everyone laughs.
     Gabriel walks around the table.

<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                35.
</b>
<b>54   CONTINUED:    (6)                                                54
</b>
<b>                                GABRIEL
</b>                  I was just fucking with you,
                  Stan.

     Stanley is pissed. Helga, smiling, kisses him on the
     cheek. Stanley tries to calm down. He gets up, shoots
     someone's half-drank drink, zips his pants, then --

<b>                                STANLEY
</b>                  So was I.

     Stanley hits the enter key and spins the computer around.


<b>     CLOSEUP - COMPUTER SCREEN
</b>
     "ACCESS GRANTED" appears, and the Department of Defense
     logo scrolls across the screen.


<b>     WIDER
</b>
     Stanley gives them all a "fuck you" smile, then stomps
     out through the curtain.


<b>     CLOSEUP ON GABRIEL
</b>
     who smiles.


<b>55   INT. CLUB - REST ROOM - NIGHT                                    55
</b>
     Stanley pushes into the bathroom.       He kicks the
     wastebasket across the room.

<b>                                STANLEY
</b>                  Shit!

     He pushes a club kid out of the way of the sink. He
     turns on the water and washes his face. Slowly he leans
     his forehead against the mirror. Ginger appears behind
     him.

<b>                                STANLEY
</b>                  What are you looking at?

<b>                                GINGER
</b>                  Relax, Stanley. You can do this.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                               36.
</b>
<b>55   CONTINUED:                                                      55
</b>
<b>                                STANLEY
</b>                  Get away from me.

<b>                                GINGER
</b>                  I want to help you.

<b>                                STANLEY
</b>                  Help? Help what, squeegee my
                  brain off the ceiling?

<b>                                GINGER
</b>                  It was just a test, Stan, you
                  passed.

     Ginger pulls out a cigarette and a lighter from her
     plastic overcoat.

<b>                                STANLEY
</b>                  A test... I don't know why I let
                  you talk me into this. I can't
                  believe how desperate I am.

     She exhales toward Stanley.

<b>                                GINGER
</b>                  I thought you were here saving
                  your daughter, Stanley.

     He turns around.

<b>                                 STANLEY
</b>                         (pissed)
                  Look... I'd do anything to get
                  Holly back. But, if I end up in a
                  box or back in jail, then I really
                  can't help her, can I? What I
                  should do, is take my money and go
                  back to court.

<b>                                GINGER
</b>                  Back to court? Back to Melissa's
                  gladiators? You throw a hundred
                  grand at her, she'll throw five
                  back at you. It's not about
                  Holly, it's about beating you.
                  You know that. Think, Stanley.

<b>                                STANLEY
</b>                  What I'm thinking about is that
                  you're willing to put a gun to my
                  head to see if I can hack --

     Suddenly three club kids come busting into the bathroom.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                      37.
</b>
<b>55   CONTINUED:    (2)                                                      55
</b>
     Ginger interrupts him by slamming Stan between the
     urinals and ramming her tongue into his mouth with the
     kind of wet, aggressive action that takes a movie from
     PG-13 to an R.

     When the kids realize that the urinals are occupied, they
     leave. Slowly Ginger takes her tongue out of Stan's
     mouth. They look at each other. She smiles at him.

<b>                                   GINGER
</b>                         (coyly)
                  Sorry...

     A beat, for a moment there exists something between them,
     then bam, she's all business again.

<b>                                GINGER
</b>                  So, let me sum it up for you,
                  Stanley. You live in a trailer.
                         (beat)
                  You're a felon, working a dead-
                  end job. You want to get Holly
                  back, Gabriel's your only shot.


<b>     ANGLE ON STANLEY
</b>
     As he realizes she's right, he's got nothing to lose.
     Slam! He smacks the mirror with his fist, then walks out
     of the rest room. Ginger slowly lifts the cigarette.
     She exhales, then slowly smiles. She's got him.


<b>56   EXT. PRAGUE VALET - NIGHT                                              56
</b>
     Next to the valet stand, Gabriel leans over the hood of
     an evil-looking, bright-yellow Lamborghini Diablo
     Roadster, a GAMEBOY CHIRPING in his hands.

     Stanley walks INTO the FRAME.          Without missing a beat,
     Gabriel looks up --

<b>                                 GABRIEL
</b>                  Big Stan.   I was afraid we lost
                  you.

     Gabriel stands up and walks toward Stan.

<b>                                STANLEY
</b>                  Tell me what the deal is.

<b>                                                           (CONTINUED)
</b><b>
</b><b>                                                                     38.
</b>
<b>56   CONTINUED:                                                            56
</b>
<b>                                GABRIEL
</b>                  Let's go up to the house. I'm
                  having a little get-together. I'll
                  explain it to you there.

     Gabriel smiles.

<b>                                                          FADE TO:
</b>

<b>57   INT. FBI LAB - NIGHT                                                  57
</b>
     Three GEEKY COMPUTER-TYPES sit in front of a huge array
     of CRTs. They look up when Roberts stalks into the room.
     He yanks off his jacket, crumbles it and throws it across
     the room. They just look at each other.

<b>                                ROBERTS
</b>                  Tell me you have some good news
                  for me.

<b>                                FBI COMPUTER GEEK #1
</b>                  Actually we have a small ray of
                  hope in the vast darkness that is
                  your life, sir. Check this out.

     On one of the 25-inch screens we see a terminal at LAX
     with hundreds of people streaming by at 20x speed.
     Torvalds is being apprehended. He freezes it.

<b>                                FBI COMPUTER GEEK #1
</b>                  See these two guys?

     He points at two men watching this action from the
     sideline. He pulls another monitor forward.

<b>                                FBI COMPUTER GEEK #1
</b>                  Now watch this...

     He fast-forwards through the crowd until the two guys
     show up again. He freezes it.

<b>                                FBI COMPUTER GEEK #1
</b>                  Recognize those two, same guys,
                  next day. Question is --

     He slowly moves the action forward --

<b>                                   FBI COMPUTER GEEK #1
</b>                  -- who's that?

     The footage stops and zooms in on one of two travelers
     who the two men are meeting.

<b>                                                          (CONTINUED)
</b><b>
</b><b>                                                               38A.
</b>
<b>57   CONTINUED:    (A1)                                               57
</b>
     It is Stanley.

<b>                                ROBERTS
</b>                  Stanley Jobson...

     The computer guys look at each other.    One hands Roberts
     an open copy of Wired magazine.

<b>                                FBI COMPUTER GEEK #1
</b>                  Wired's man of the year, 1996.
                  Pretty much a burnout but he was
                  the hacker zeitgeist of his day --

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                39.
</b>
<b>57   CONTINUED:                                                       57
</b>
<b>                                ROBERTS
</b>                  I know who Jobson is. I busted
                  him.
                         (to Stan's image)
                  Why are you in L.A.?

     Roberts looks at it. Then at the screen.        A pop-up
     screen shows Stanley's history.

<b>                                FBI COMPUTER GEEK #1
</b>                  His ex-wife lives in Malibu.

<b>                                FBI COMPUTER GEEK #2
</b>                  The new husband owns Backdoor
                  Films, a shady porn production
                  house in Chatsworth. Decent
                  production value but they only
                  shoot on video. His wife actually
                  starred in a couple of his videos.
                  Apparently she's an 'actress.'

     Roberts moves the mouse to see Ginger.

<b>                                ROBERTS
</b>                  Who's the chick?

<b>                                FBI COMPUTER GEEK #1
</b>                  We don't know yet, sir.

<b>                                FBI COMPUTER GEEK #2
</b>                  Serious piece of talent.

<b>                                FBI COMPUTER GEEK #3
</b>                  Way outta his league. Something's
                  up.

<b>                                FBI COMPUTER GEEK #2
</b>                  You know he also has a ten-year-
                  old daughter, who he's not
                  supposed to see. Maybe that's why
                  he's here.

     Roberts looks at him like he's an idiot.

<b>                                  FBI COMPUTER GEEK #2
</b>                  Or maybe not.

<b>                                ROBERTS
</b>                  I want to know who that girl is.
                  Pronto.

     Roberts stands.

<b>                                ROBERTS
</b>                  And stake out his daughter.
<b>
</b><b>                                                                40.
</b>
<b>58   EXT. GABRIEL'S HOUSE - POOL - NIGHT                              58
</b>
     The house is at the very top of the hills and the pool
     hangs off the side of the cliff, way below the house.

     The outer edge appears nonexistent, like the water hangs
     frozen in air.

     A very hip but very nasty soiree is in progress.    More
     Ibiza than Hollywood Hills.

     Stanley sits in a chair beside a pool containing a half-
     dozen beautiful un-clad model-types.

     Gabriel is mingling through the crowd.


<b>     CLOSEUP - STANLEY
</b>
     Stanley stares off into the glittering lights of L.A.
<b>     WIDEN.
</b>
<b>                             GABRIEL
</b>                      (smiles)
               So Stan, tell me. How'd you do
               it?

<b>                             STANLEY
</b>               Do what?

<b>                             GABRIEL
</b>               Break the code. At the club.
               You broke the entire encryption, a
               silencer against your eye and your
               cock in someone's mouth, all in
               less than sixty seconds. How?

<b>                             STANLEY
</b>               I used a logic bomb, dropped it
               through the trap door --

<b>                             GINGER
</b>               No, you didn't. You didn't have
               time.

<b>                             GABRIEL
</b>               C'mon, you can do better than
               that. How'd you do it?

<b>                             STANLEY
</b>               I used a password sniffer.

     Gabriel glances at Ginger who shakes her head.

<b>                             GINGER
</b>               Uh uh.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               41.
</b>
<b>58   CONTINUED:                                                      58
</b>
<b>                                  STANLEY
</b>                  Yes, I did --

<b>                                GABRIEL
</b>                  C'mon, Stanley. How'd-you-do-it?

<b>                                STANLEY
</b>                  I don't know exactly. I see the
                  numbers. In my head. All my
                  life. I don't answer equations, I
                  just see the answers. Same with
                  code. I can't explain ---

     Ginger eases over to where Stan is sitting. She runs her
     hands across his shoulders as she moves around him,
     dancing to the MUSIC.

<b>                                GINGER
</b>                  Mozart always said he didn't write
                  music; he just wrote down what he
                  heard in his head. So did
                  Faulkner, just with words.

<b>                                GABRIEL
</b>                         (drinking wine)
                  You definitely have a gift, Stan.
                  The most powerful people on the
                  planet are like you. With a laptop
                  and a phone line you can make God
                  look like a thirteen-year-old
                  with a stack of Playboys and a
                  lack of imagination.
                         (beat)
                  C'mere, Stan, let me show you
                  something.


<b>59   INT. GABRIEL'S LIVING ROOM - NIGHT                              59
</b>
     Stanley and Gabriel stand in Gabriel's primo designed
     pad, staring at an array of supercomputers.

     Stanley stands in front of the six huge flat panels,
     linked together, in complete awe.

<b>                                GABRIEL
</b>                  Pretty impressive, huh.
                         (beat)
                  So...

<b>                                  STANLEY
</b>                  So?

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                             42.
</b>
<b>59   CONTINUED:                                                    59
</b>
<b>                                GABRIEL
</b>                  Here's the deal. I need a worm,
                  Stanley. A hydra, actually. A
                  multi-headed worm to break an
                  encryption and then sniff out
                  latent digital footprints
                  throughout an encrypted network.

<b>                                STANLEY
</b>                  What kind of cypher?

<b>                                GABRIEL
</b>                  Vernam encryption.

<b>                                STANLEY
</b>                  A Vernam's impossible. Its key
                  code is destroyed upon
                  implementation. Not to mention
                  being a true 128 bit encryption.

<b>                                GABRIEL
</b>                  Actually, we're talking 512 bit.

<b>                                STANLEY
</b>                  It's impossible.

<b>                                GABRIEL
</b>                  Tell ya what, I'll pay you ten
                  million dollars. That should be
                  enough to get your daughter back...
                         (beat)
                  ... unless of course it's impossible.

     Stan thinks about it.

<b>                                STANLEY
</b>                  Nothing's impossible.

     They shake hands and Gabriel heads toward the back of the
     house.


<b>     LONG SHOT - GABRIEL
</b>
     walking up the stairs toward his room.

     Stan looks over to see Ginger staring at him.

<b>                                STANLEY
</b>                  What?

     Ginger pulls herself up on the desk, spreading her legs
     on either side of the keyboard.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                43.
</b>
<b>59   CONTINUED:    (2)                                                59
</b>
<b>                                 GINGER
</b>                  C'mon, Stan.   Let's get to work.

     She turns on the computers.     He backs away.

<b>                                GINGER
</b>                  It won't bite you, I promise.

<b>                                STANLEY
</b>                  I don't know. It's gonna be
                  pretty hard without a gun to my
                  head.

     She reaches out and pulls him to her.

<b>                                GINGER
</b>                  Well, let's put a gun to your
                  head.

     She kisses him and slowly he responds.       She smiles.

<b>                                GINGER
</b>                  Tell me about your worm, Stanley.

     They kiss.

<b>                                GINGER
</b>                  You surprised that a girl with
                  real breasts and an I.Q. over 70
                  can give you a hard-on?

     Stan shakes his head.

<b>                                STANLEY
</b>                  I thought you were Gabriel's.

     She looks at him a moment. She smiles at him and slowly
     bends forward to whisper in his ear.


<b>     CLOSEUP - GINGER'S MOUTH
</b>
     at Stanley's ear.

<b>                                GINGER
</b>                         (very slowly)
                  I am not what you think I am.


<b>     ANGLE ON GINGER AND STANLEY
</b>
     As she leans back. She stares at him a moment then
     slides off the desk.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                44.
</b>
<b>59   CONTINUED:    (3)                                                59
</b>
<b>                                 GINGER
</b>                  You're a smart guy, Stanley.    You
                  figure me out.

     She hands him the bottle of expensive wine she's been
     drinking, and then grabbing Stan by the belt-buckle,
     pulls him casually behind her toward the pool house.

<b>                                                        FADE TO BLACK.
</b>

<b>     FADE IN:
</b>
<b>60   EXT. POOL - DAY                                                  60
</b>
     Lounging by the pool is none other than our heroine,
     Ginger, topless, wearing nothing more than tiny, oblong,
     green-tinted shades, a skimpy T-back, and a little silver
     ring through her left nipple. She's reading Steven
     Hawkings' A Brief History of Time. A shadow falls over
     her.

     The shadow moves.       Ginger glances nonchalantly up, then:

<b>                                 GINGER
</b>                         (sitting up,
                           grinning)
                  Don't you have that just-fucked-
                  the-neighbor's-cat look this
                  morning.

     She reaches over, lights a cigarette, and inhales deeply.
     He smiles, looking her up and down.

<b>                                  GINGER
</b>                  Problem?

<b>                                STANLEY
</b>                  Pretty impressive.

<b>                                GINGER
</b>                  I thought we went over all that
                  last night.

<b>                                STANLEY
</b>                         (beat, then like
                          "stupid")
                  The book, Ginger.

<b>                                  GINGER
</b>                  Ohhh.
                         (holding it out)
                  Look, no pictures. Get out of my
                  light.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                              45.
</b>
<b>60   CONTINUED:                                                     60
</b>
     They stare at each sharing a moment of God-only-knows-
     what, then both break into smiles like two giddy seventh-
     graders at the local skating rink.

     Stanley nervously clears his throat.    She's got him.

<b>                                STANLEY
</b>                  Can I borrow your car? There's
                  something I need to do.

     She reaches down beside the chair, grabs her keys and
     tosses them to him. Then:

<b>                                GINGER
</b>                  If you're going to see your
                  daughter, you might want to
                  reevaluate the way you look.
                         (goes back to
                          her book)
                  Just a thought.

     He looks at her with open mouth amazement. In just 24
     hours, she already knows what makes him tick.

     She looks up from her book and winks at him, then returns
     to her reading.


<b>61   EXT. NEWTON MONTESSORI SCHOOL - DAY                            61
</b>
     A SCHOOL BELL RINGS and three hundred screaming kids of
     all ages come running from the doors.


<b>     ANGLE ON HOLLY
</b>
     Not your average ten-year-old. Even decked out in bell-
     bottoms and sandals there is something about the way she
     carries herself that is older; wiser; sadder.

     She walks into a CLOSEUP and scans the driveway.
     Reflected in her tiny, round lavender shades we see the
     circular driveway of the school jam-packed with buses and
     parental types in their M-series Mercedes and their Lexus
     SUVs. She sighs. We CRANE UP, PANNING LEFT.

     Holly walks to the edge of the street oblivious to the
     mayhem. She looks up and down the street then slowly
     drops her backpack and sits down on the curb. She pulls
     a well-worn copy of William Gibson's Neuromancer from her
     backpack, and turns up the raging ELECTRONICA from her
<b>     WALKMAN.
</b>
<b>                                                     DISSOLVE TO:
</b><b>
</b><b>                                                           46.
</b>
<b>62   SAME SCENE - LATER                                          62
</b>
     Now there is much less pandemonium. No more buses. We
     CRANE DOWN TO a MEDIUM of Holly still in the exact same
     spot. Holly sighs, pulls back her headphones and grabs
     her StarTac from her backpack. She opens the phone and
     dials.


<b>63   INT. MALIBU HOUSE - DAY                                     63
</b>
     The PHONE RINGS and we PAN AROUND the seemingly empty
     house, finally COMING TO REST ON the back of the couch.
     We JIB UP and TILT DOWN. Melissa is passed out in a pool
     of her own drool. The PHONE continues to RING.
<b>
</b><b>                                                          47.
</b>
<b>64   EXT. NEWTON MONTESSORI SCHOOL - DAY                        64
</b>
     Holly hits the phone and then presses speed dial. We see
     "Yellow Cab" scroll across the phone. She hits "SEND."

<b>                             MAN (O.S.)
</b>               Can I give you a lift?

<b>                             HOLLY
</b>               Look, creep, I don't think so --

     She stands up, ready for a fight. And there, next to her
     is her father; transformed. Under his arm is a three-
     foot-tall stuffed giraffe wrapped with a big red bow.

<b>                               HOLLY
</b>               Daddy?
                        (recognition)
               Daddy!

     She runs to him and wraps her arms around him.

<b>                             STANLEY
</b>               Hey, sweetheart.

<b>                             HOLLY
</b>               Daddy... What are you doing here?
               I missed you so much.

<b>                               STANLEY
</b>               Me too, baby.    I brought you
               something.

     He holds the stuffed giraffe to her.

<b>                             HOLLY
</b>               Oh, Daddy. If Mom finds out
               you're here she's gonna have you
               thrown back in jail.

<b>                             STANLEY
</b>               It's okay, baby. Let me give you
               a ride home.

     He grabs her stuff.

<b>                               STANLEY
</b>               C'mon.

     He walks toward Ginger's silver Mercedes CLK which he's
     borrowing. Holly runs and jumps on his back. They laugh
     as he carries her to the car.
<b>
</b><b>                                                              48.
</b>
<b>65   EXT. MALIBU HOUSE - DAY                                        65
</b>
     They sit in the CLK, parked down the street from Holly's
     house.

<b>                             STANLEY
</b>               You believe in me, right?

<b>                             HOLLY
</b>               Of course, but --

<b>                             STANLEY
</b>               I've found a way to get you back,
               sweetheart. It's my one shot and
               I'm taking it. Just give me a
               couple of days.

<b>                             HOLLY
</b>                      (crying)
               I don't want anything else to
               happen to you, Dad.

<b>                             STANLEY
</b>               Holly, everything's going to be
               okay. You just have to trust me.

<b>                             HOLLY
</b>                      (crying)
               I love you, Daddy.

     Holly quickly kisses him, jumps out and runs, crying,
     from the car at full speed, with the giraffe.

     Stanley, tears rolling down his face, slaps the steering
     wheel, trying to figure out how he screwed up his life so
     badly.

     Suddenly, the passenger door opens and a man in a DARK
     BLUE SUIT and fed-issued shades gets in.

<b>                             STANLEY
</b>               Who the fuck are you?

<b>                             DARK SUIT #1
</b>                      (flipping out
                       his badge)
               Friend of a friend. Let's take a
               ride.

     He motions toward a black Taurus, now parked across the
     street. In the back, he sees a face he recognizes.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                              49.
</b>
<b>65   CONTINUED:                                                     65
</b>
<b>     CLOSEUP ON ROBERTS
</b>

<b>     BACK TO STAN
</b>
<b>                                STANLEY
</b>                  Shit...

     The man kinda smiles at Stan.

<b>                                DARK SUIT #1
</b>                         (being a dick)
                  Gotta suck to be you.

<b>                                STANLEY
</b>                  Yep.

     Stanley whacks the fed with his elbow across the bridge
     of his nose and jumps out of the car.


<b>     INT. TAURUS
</b>
     Stan runs across the hood of the Taurus and just jumps
     over the railing.


<b>66   EXT. SHEER CLIFF - DAY                                         66
</b>
     We realize what Stan did probably wasn't the smartest
     move in the world. The cliff is just barely on this side
     of 90 degrees and drops off about five hundred yards
     straight down to the PCH.

     Stan falls in SLOW MOTION about thirty feet before the
     cliff face angles out enough to break his fall. He begins
     a combination of sliding and tumbling down the bluff.


<b>67   EXT. MALIBU HOUSE (STREET) - DAY                               67
</b>
     Roberts runs to the railing and sees Stanley sliding/
     falling down the hill.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                              50.
</b>
<b>67   CONTINUED:                                                     67
</b>
<b>                                ROBERTS
</b>                         (to his men)
                  Cut him off at the bottom.

     Roberts then hops the railing, as his men scramble for
     the car.


<b>68   EXT. SHEER CLIFF - DAY                                         68
</b>
     Roberts hangs in mid-air a moment, then he too begins the
     rolling fall down the hill.


<b>     ANGLE ON STANLEY
</b>
     as he tries to keep his balance, is being beaten and
     battered by the sharp, rocky ground.

     Finally, he shoots off an outcropping and free-falls for
     fifteen feet. Then it really gets bad.

     Clear plastic sheeting has been stretched across the hill
     to help control the erosion. To Stanley however, it is
     the world's largest Slip and Slide.

     He is no longer able to control, even badly, his descent.
     Now, he is flying down the cliff face, only the rocks and
     bushes that slam into his body, slows the descent.

     Roberts, above him, is doing little better.


<b>     LONG SHOT ON CLIFF FACE
</b>
     As Stan and Roberts slide toward the eight lanes of
     blazing afternoon traffic on the PCH.

     Finally, Stan bounces onto the black-top road.   He runs
     headlong into the traffic.

     CARS SCREECH, HORNS BLARING, as they slide into each
     other. Stanley does not lose the single-minded focus of
     escaping.

     Roberts, now at   the bottom himself, watches as a CAR
     SLIDES sideways   into Stan, flipping him over it. Stan,
     not stopping to   feel the pain, runs across the hood of a
     freshly-stopped   car.
<b>
</b><b>                                                           51.
</b>
<b>69   EXT. BEACH - DAY                                            69
</b>
     On the other side, Stan runs down to the beach and runs
     down the sand at full-tilt, looking for any escape route.
     Roberts has made up some time due to the auto-pedestrian
     accident which slowed him down a little. Stan however is
     faster.

     Stan does his best Jerry Rice, as he runs down the beach
     at full speed.

     Suddenly, the Taurus comes tearing-ass across the beach
     at Stanley. Stan veers, now running through the surf.
     The Taurus veers as well, and Stan is forced to slide
     across the hood to keep from getting whacked. The Taurus
     breaks left, and slides further into the surf.

     The FBI driver hits the accelerator and bogs the Taurus
     down, tires spinning, throwing sand. Stan continues to
     run as Roberts makes it to the Taurus.

<b>                             ROBERTS
</b>               Fuck this.

     He pulls his .40 CAL. from his shoulder holster and FIRES
     it into the air. Roberts bends over trying to catch his
     breath.

     Stanley stops, putting his hands up.

<b>                             DARK SUIT #2
</b>               Why didn't you do that earlier,
               sir?

     Roberts looks at the agent.

<b>                             DARK SUIT #2
</b>               Sorry, sir.

<b>                             ROBERTS
</b>               Go get him.

     Three of the agents bring Stanley over.

     Stan slides down by the back wheel.

<b>                             ROBERTS
</b>               What are you doing in L.A., Stan?

<b>                              STANLEY
</b>                      (catching his
                       breath)
               Vacationing...

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                               52.
</b>
<b>69   CONTINUED:                                                      69
</b>
<b>                                ROBERTS
</b>                  Why were you running? We just
                  wanted to talk.

<b>                                STANLEY
</b>                  Are you arresting me?

<b>                                ROBERTS
</b>                  For violating your parole by
                  leaving Texas without permission
                  or for evading a federal agent and
                  almost getting me killed in the
                  process?

     Stan just looks at him.

<b>                                 ROBERTS
</b>                  No, I'm not.

<b>                                STANLEY
</b>                  Then why are we talking?

<b>                                ROBERTS
</b>                  Didn't know the court lifted the
                  sanction preventing you from
                  seeing your daughter.

<b>                                 STANLEY
</b>                  Fuck you.

<b>                                ROBERTS
</b>                  You just want to cut through the
                  pleasantries and get down to
                  business? Fine. I can help you
                  with your daughter, Stan. Help
                  me, I'll help you.

<b>                                STANLEY
</b>                  You'll have to forgive me, the
                  fact that you put me in jail for
                  18 months doesn't inspire a lot of
                  trust.

<b>                                ROBERTS
</b>                  Whether I agreed with what you did
                  or not, you broke the law,
                  Stanley.

<b>                                STANLEY
</b>                  I guess we were both doing what we
                  had to. This was a nice trip down
                  memory lane, but if you're not
                  arresting me...

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               53.
</b>
<b>69   CONTINUED:    (2)                                               69
</b>
<b>                                ROBERTS
</b>                  So, why was it you are in L.A.
                  again?

<b>                                  STANLEY
</b>                  I told you --

<b>                                 ROBERTS
</b>                  -- vacationing. That's right. Ya
                  know it's funny. Axl Torvalds was
                  just here for a vacation, too.
                  Isn't it odd that the two best
                  hackers in the world are here at
                  the same time.

<b>                                STANLEY
</b>                  I'm a sucker for Disneyland.
                         (getting up)
                  Tell Torvalds I said hello.

<b>                                ROBERTS
</b>                  If you're not careful you can tell
                  him yourself. He's dead.

     Stanley looks at Roberts.

<b>                                ROBERTS
</b>                         (to his men)
                  Give him a card.

     They do.   Stan looks at it.

<b>                                ROBERTS
</b>                  In case you think of anything else
                  you want to tell me.

     Stan turns to walk off.

<b>                                STANLEY
</b>                         (to the agent
                          he elbowed)
                  Sorry about your nose.

<b>                                  ROBERTS
</b>                  Hey, Stan.

     Stan turns.

<b>                                ROBERTS
</b>                  You know, you're in way over your
                  head here.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                 54.
</b>
<b>69   CONTINUED:    (3)                                                 69
</b>
<b>                                   STANLEY
</b>                            (walking off)
                  I know.

<b>                                ROBERTS
</b>                  It's a long walk back up the hill,
                  Stanley. You want us to give you
                  a lift?

     Stan lifts his middle finger behind him and begins the
     long journey back up the hill. Roberts collapses into
     the passenger seat.

<b>                                   ROBERTS
</b>                  Follow him.

<b>                                   RANDOM AGENT
</b>                  Yessir.


<b>     CLOSEUP ON ROBERTS
</b>
     watching Stan walk away.

<b>                                                       CUT TO:
</b>

<b>70   INT. GABRIEL'S HOUSE - GINGER'S ROOM - DAY                        70
</b>
     Ginger walks in and closes the door. She walks over to
     the dresser and takes off her earrings. Then she reaches
     under her dress and unVelcros the modified 10mm. Glock
     and its thigh holster, dropping it on the dresser. She
     then pulls off the hip, little designer dress she is
     wearing, revealing the fact that she is wearing a tiny
     transmitting receiver taped between her breasts.

     She stares at herself in the mirror for a moment, then
     slowly starts to untape the bug.

<b>                                STANLEY (O.S.)
</b>                  I have to hand it to you, Ginger.
                  You look good wearing anything.
                  Even a wire.

     Ginger grabs her Glock and spins around, the holster
     dropping away with the touch of a button.

     She levels it on the dark corner of the room where
     Stanley sits waiting, drinking a bottle of Gabriel's
     expensive wine.

<b>                                STANLEY
</b>                  You gonna kill me?

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                55.
</b>
<b>70   CONTINUED:                                                       70
</b>
<b>                                GINGER
</b>                  I'm thinking.
                         (beat)
                  What are you doing here, Stanley?

<b>                                STANLEY
</b>                  I should probably ask you the same
                  question.

     He leans forward into the light.

<b>                                GINGER
</b>                  What happened to you?

<b>                                STANLEY
</b>                  Little accident.
                         (tossing her
                          her keys)
                  Sorry about your car. I've had a
                  pretty shitty day so far. Looks
                  like it just got worse.
                         (beat)
                  Who are you, Ginger?

<b>                                GINGER
</b>                  I can't tell you.

<b>                                STANLEY
</b>                         (incredulous)
                  You can't tell me? Well, that's
                  just fuckin' peachy.

<b>                                GINGER
</b>                  Think, Stanley.

<b>                                STANLEY
</b>                         (loudly)
                  Who are you?

<b>                                   GINGER
</b>                  He'll kill me.

<b>                                                      CUT TO:
</b>

<b>     INT. HALLWAY
</b>
     Gabriel walking down hallway.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                 56.
</b>
<b>70   CONTINUED:    (2)                                                 70
</b>
<b>     INT. GABRIEL HOUSE - GINGER'S ROOM - DAY
</b>
<b>                                STANLEY
</b>                  That's not my problem, is it?
                  You're asking for a lot of faith
                  here, Ging, without givin' me any.
                  You --

<b>                                  GINGER
</b>                  -- Stanley --

<b>                                STANLEY
</b>                  -- brought me into this mess --

<b>                                GINGER
</b>                         (pleadingly)
                  -- Stanley --

<b>                                STANLEY
</b>                  -- I deserve to know who's playing
                  me, Ginger.
                         (hitting each word)
                  Who the fuck are you?

<b>                                                       CUT TO:
</b>

<b>     INT. HALLWAY - ANGLE ON GABRIEL
</b>
     nearing Ginger's room.


<b>     INT. GABRIEL'S HOUSE - GINGER'S ROOM - DAY
</b>
<b>                                GINGER
</b>                         (quietly)
                  I'm D.E.A., Stanley.

     Stan and Ginger hold a moment, as:

<b>                                  GABRIEL (O.S.)
</b>                  Ginger...?

     Stanley, in one quick thinking movement, rips the wire
     from Ginger's chest and flings it behind the bed just as
     the door swings open. Gabriel stands staring at them.
     Ginger topless, weapon in hand and Stanley who looks like
     he had the shit kicked out of him.

     Ginger and Stanley both stare at him.

<b>                                GABRIEL
</b>                  Well, Ging, doesn't this look
                  friendly.
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               56A.
</b>
<b>70   CONTINUED:    (2A)                                               70
</b>
<b>                                GINGER
</b>                  I'm a friendly girl.

     Stanley looks at Ginger for a beat.

<b>                                STANLEY
</b>                  Actually...

     Ginger stares at Stanley, who turns to look at Gabriel.
     Gabriel looks at Stan, waiting.

<b>                                STANLEY
</b>                  Thought maybe you'd like to see me
                  get you your hydra.

<b>                                GABRIEL
</b>                  Get?

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                 57.
</b>
<b>70   CONTINUED:    (3)                                                 70
</b>
     Stan walks toward Gabriel.

<b>                                  STANLEY
</b>                  C'mon.

     Gabriel walks into the hall. Stanley looks back at
     Ginger who mouths the words "Thank you." Stanley ignores
     her. Ginger reaches down and grabs a shirt off the bed.

<b>                                GABRIEL (O.S.)
</b>                  You look like shit. Ginger kick
                  your ass?

<b>                                  STANLEY (O.S.)
</b>                           (deadpan)
                  Funny.

     Ginger sighs and tosses her gun onto the bed, then
     follows them.


<b>71   INT. GABRIEL'S HOUSE - LIVING ROOM - DAY                          71
</b>
     Stanley, looking a little rough, sits in front of the
     huge array of flat-panels. He works quickly. The
     nitrogen system, an array of hoses winding across the
     living room floor, intermittently SHOOTS JETS of GAS
     upwards, dropping the temperature to a livable 85
     degrees. Gabriel sits next to Stan.

     Ginger walks in.      She stands behind Stan as he works.

<b>                                  GINGER
</b>                  Miss me?

<b>                                  STANLEY
</b>                  Terribly.


<b>     COMPUTER
</b>
     The screen shows the MIT University logo.      Then "ACCESS
     DENIED." His fingers work the keyboard.

<b>                                                       CUT TO:
</b>

<b>72   INT. MIT BASEMENT - NIGHT                                         72
</b>
     As he talks, we TRACK DOWN an old, concrete stairwell and
     down a long, dank hallway.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               58.
</b>
<b>72   CONTINUED:                                                      72
</b>
<b>                                STANLEY (V.O.)
</b>                  My senior year at M.I.T., I
                  created the source code for the
                  worm that I've been using for
                  years.

     We TRACK AROUND a corner.

<b>                                STANLEY (V.O.)
</b>                  In the basement and through a file
                  room is the only P.D.P.-10 still
                  active and on the internet,
                  although only a few people know
                  this. It's an I.T.S. machine and
                  kept online just for historical
                  sake. I hid my worm inside it
                  where no one would ever think to
                  look.

     We DOLLY INTO a CLOSEUP ON a large, ominous, dark
     mainframe.


<b>73   CLOSEUP ON STANLEY'S FINGER                                     73
</b>
     hitting a key.


<b>74   ANGLE ON PDP-10                                                 74
</b>
     as it HUMS TO LIFE.


<b>75   CLOSEUP ON COMPUTER SCREEN                                      75
</b>
     as it fills with lines of code.


<b>     ANGLE ON STAN
</b>
     who turns around, a cocky grin on his face, like a proud
     parent, she smiles at him.

     Gabriel walks in.

<b>                                STANLEY
</b>                  Now I just have to modify the
                  code.

<b>                                GINGER
</b>                  He's fucking amazing.

<b>                                GABRIEL
</b>                  Yes he is.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                 59.
</b>
<b>75   CONTINUED:                                                        75
</b>
     She runs her hand affectionately across the side of his
     head and walks out.

<b>                                GABRIEL
</b>                  I see you have a groupie.

<b>                                STANLEY
</b>                         (ignoring that)
                  You know, it'd be a lot simpler if
                  you would tell me exactly what the
                  hydra is going to be used for?

     PUSH IN ON Gabriel as he thinks about it.


<b>76   INT. LAMBORGHINI - MOVING - DAY                                   76
</b>
<b>                                GABRIEL
</b>                  Have you heard of Operation
                  Swordfish?

<b>                                STANLEY
</b>                  Nope.


<b>77   EXT. STARBUCKS - DAY                                              77
</b>
     The Lamborghini pulls up in front of a Starbucks.

<b>                                GABRIEL
</b>                  You'll appreciate the irony
                  here --

     Gabriel gets out of the car, still talking.       Stanley
     follows.

<b>                                GABRIEL
</b>                  -- In the early Eighties the
                  D.E.A. set up a network of dummy
                  corporations as a government front
                  to launder drug money and gather
                  evidence. Problem is, the front
                  companies started making money.
                  Lots of money. By 1986, when
                  Operation Swordfish was
                  terminated, there was close to 400
                  million dollars in the D.E.A.'s
                  accounts.


<b>78   INT. STARBUCKS - DAY                                              78
</b>
     Gabriel and Stanley walk through the door and sit down at
     a window table.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                60.
</b>
<b>78   CONTINUED:                                                       78
</b>
<b>                                STANLEY
</b>                  Money that just sorta disappeared.

<b>                                GABRIEL
</b>                  It didn't disappear. It just sat
                  in those accounts earning interest,
                  it's been 15 years. You have any
                  concept how much money we'd be
                  actually talking about today?
                  Billions, brother. That's nine
                  zeros.
                         (beat)
                  Look, this is a sweet deal. We
                  go in over phone lines. Pop the
                  firewall, drop in the hydra, and
                  just sit back and wait for the
                  money.

<b>                                STANLEY
</b>                  Before we can tap into the secure
                  cluster, you have to find one of
                  the banks on the backbone of this
                  network. Do you know how many
                  banks there are in the U.S.? It
                  could take years.

<b>                                GABRIEL
</b>                  No problem.
                         (beat)
                  Look behind you, Stan.

     Stanley turns and looks out the window.    They are sitting
     directly across from the World Banc.


<b>79   EXT. GABRIEL'S HOUSE - LONG SHOT                                 79
</b>
     Gabriel and Stanley walk toward the house. The CAMERA
     PANS LEFT and we can now see Gabriel's house, poolside.
     We PULL BACK, THROUGH a window INTO:


<b>80   INT. TRAILER - DAY                                               80
</b>
     A small trailer across the canyon from Gabriel's house.

<b>                                ROBERTS
</b>                  Who is he?

<b>                                FBI COMPUTER GEEK #1
</b>                  We don't know that yet, sir.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                61.
</b>
<b>80    CONTINUED:                                                      80
</b>
<b>                                 FBI COMPUTER GEEK #2
</b>                   There's definitely something going
                   on. There are two T-5 trunks
                   going into the house. That's
                   serious bandwidth. Thermal scopes
                   indicate a huge heat-load in the
                   main living area. Could be from
                   mainframes, although they must
                   have a genny 'cause power
                   consumption is right on par.

<b>                                 FBI AGENT #1
</b>                   Some of these fellows might be
                   dressed in Armani, but they
                   definitely have the swagger of ex-
                   military. Maybe bodyguards but
                   they seem more like mercs to me.

<b>                                 FBI COMPUTER GEEK #1
</b>                   From here we're having trouble
                   pinning any of them down. Sure
                   would be nice to task a satellite,
                   sir.

<b>                                 ROBERTS
</b>                   I'm working on it. Send what you
                   have up-lines, maybe we'll have
                   one by the end of the week.

      Roberts walks out of the trailer.


<b>80A   INT. GABRIEL'S HOUSE - DAY                                      80A
</b>
      Stanley works at the computer.


<b>80B   INT. TRAILER - DAY                                              80B
</b>
      Roberts looks out the window through a camera with a huge
      lens.


<b>80C   LONG LENS POV                                                   80C
</b>
      Gabriel stands by the pool, his BACK TOWARD US. Slowly,
      Gabriel turns around. He is staring directly AT US.


<b>80D   INT. TRAILER - DAY                                              80D
</b>
      Roberts instinctively jerks his head up.    Slowly he looks
      back into the eyepiece.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                               62.
</b>
<b>80D   CONTINUED:                                                     80D
</b>
<b>                                 ROBERTS
</b>                   Who the hell is that?

      He presses the switch and the CAMERA'S SHUTTER WHIRLS.


<b>81    INT. SENATOR REISMAN'S HOUSE (WASHINGTON D.C.) - DAY           81
</b>
<b>                                 KAPLAN
</b>                   Senator.

<b>                                 SENATOR REISMAN
</b>                   Close the door.

      He does.

<b>                                  KAPLAN
</b>                   We have a problem.
                          (walking toward desk)
                   Look at these.

      Kaplan spreads out the surveillance photos on the desk.
      The Senator looks up at Kaplan.


<b>82    OMITTED                                                        82
</b>

<b>83    INT. REISMAN'S HOUSE - DAY                                     83
</b>
      Reisman, who now stands in a windowless room. The only
      furniture is a desk on which rests a small laptop and
      what appears to be a speaker. An OPERATOR sits at the
      desk, while Kaplan hovers in the b.g.

<b>                                 REISMAN
</b>                   We have him yet?

<b>                                 COMMUNICATION (OPERATOR)
</b>                   He's coming online now, sir.
                   Ready.

      As Reisman speaks the Communication guy types.

<b>                                 REISMAN
</b>                   We have a problem --


<b>84    INT. GABRIEL'S HOUSE - DAY                                     84
</b>
      Gabriel and Marco sit at the same type of apparatus, a
      merc at the laptop. Reisman's dialogue comes out of the
      SPEAKER, but it is no longer Reisman, it is a
<b>      COMPUTERIZED VOICE.
</b>
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                               63.
</b>
<b>84   CONTINUED:                                                      84
</b>
<b>                                REISMAN (V.O.)
</b>                  -- Seems you have gotten yourself
                  in a predicament.

<b>                                GABRIEL
</b>                  I'm not exactly following you.


<b>85   INT. REISMAN'S HOUSE - DAY                                      85
</b>
<b>                                REISMAN
</b>                  Transfer the pictures.


<b>86   INT. GABRIEL'S HOUSE - DAY                                      86
</b>
     Gabriel looks at the surveillance photos as they come up.
     We INTERCUT as they speak.

<b>                                GABRIEL
</b>                         (irritated but
                          respectful)
                  Senator, I sincerely hope you did
                  not contact me and jeopardize the
                  safety of me and my men for this.

<b>                                REISMAN
</b>                  Goddamn right I did. You know
                  where I got that? From the deputy
                  director of the F.B.I. He thought
                  I might be interested.

<b>                                GABRIEL
</b>                  Sir, with all due respect. Do you
                  think there is any aspect of this
                  operation I am not fully aware of?

<b>                                REISMAN
</b>                  We are aborting the operation and
                  securing alternative means of
                  finance elsewhere.

<b>                                 GABRIEL
</b>                  What?

<b>                                REISMAN
</b>                  We are aborting this operation.
                  Take a vacation.

<b>                                 GABRIEL
</b>                  A vacation?   Have I ever failed
                  you, sir?

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                          64.
</b>
<b>86   CONTINUED:                                                 86
</b>
<b>                                REISMAN
</b>                  That's not the point.

<b>                                GABRIEL
</b>                  It's my point. Senator, this
                  operation is going forward.

<b>                                REISMAN
</b>                  You understand what you are
                  saying?

<b>                                GABRIEL
</b>                  Everything is under control.

     He disconnects.


<b>87   INT. REISMAN'S HOUSE - DAY                                 87
</b>
     Reisman turns to Kaplan.

<b>                                REISMAN
</b>                         (regretful)
                  Do it. Terminate the Vortex.

<b>                                KAPLAN
</b>                  Yessir.
                         (beat)
                  Sir, he does work for us.

<b>                                REISMAN
</b>                  Excuse us.
                         (as the Communication
                          guy leaves)
                  Son, let's say you have a 200-
                  pound Rottweiler. He loves you,
                  and it's his job to protect you.
                  But if he ever bites you, even
                  once, you gotta put him down. You
                  can't have an uncontrollable
                  weapon running unchecked in your
                  back yard. He becomes a
                  liability. You never know who he
                  might bite next.

<b>                                KAPLAN
</b>                  Yessir, I understand.


<b>88   INT. GABRIEL'S HOUSE - LIVING ROOM - NIGHT                 88
</b>
     Stanley works at the keyboard. He reaches for his glass
     of wine and it is empty. He grabs the bottle. It, too,
     has been drained. He sighs and walks into the kitchen.
<b>
</b><b>                                                              65.
</b>
<b>89   INT. GABRIEL'S HOUSE - KITCHEN - NIGHT                         89
</b>
     Stan walks to the fridge. Opens the door. No wine. He
     sighs. He closes the door and walks off toward the wine
     cellar.


<b>90   INT. GABRIEL'S HOUSE - WINE CELLAR - NIGHT                     90
</b>
     In the wine cellar, Stan looks around. He opens one
     door, closes it. He opens another, same thing. The
     third, he pulls out a bottle. Keeps it. He pulls on
     another door and it is locked. He pulls again. Nothing.
     The glass doors of the temperature-controlled reach-in
     wine cooler is opaque with condensation. He bends close.
     Stanley swipes off the condensation inches from his nose.


<b>     EXTREME CLOSEUP - ON FACE
</b>
     leaning against the glass from the other side.    It's
     Gabriel's.


<b>     ANGLE ON STANLEY
</b>
<b>                               STANLEY
</b>               Fuck!!

     He drops the BOTTLE of wine.   CRASH, it SHATTERS.


<b>     REVERSE ANGLE
</b>
     Gabriel's body is wedged into the 32-degree white wine
     cooler.

<b>                               STANLEY
</b>               Jesus Christ!

     Stanley looks at the body for a moment, realizes
     something really bad is going on and hauls ass upstairs.


<b>91   INT. GABRIEL'S HOUSE - LIVING ROOM - NIGHT                     91
</b>
     Stanley runs around the corner.

     Gabriel is standing in the doorway, directly in front of
     Stanley. Stan damn near falls down.

<b>                               GABRIEL
</b>               Stan?

     Stan can't say a word.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                66.
</b>
<b>91   CONTINUED:                                                       91
</b>
<b>                                GABRIEL
</b>                  What's wrong, Stanley, you look
                  like you've seen a ghost?

     Gabriel looks in and sees the empty wine bottle at the
     computer station.

<b>                                GABRIEL
</b>                  C'mon, Stanley. Let's talk.

<b>                                   STANLEY
</b>                            (uneasy)
                  Okay...

<b>                                   GABRIEL
</b>                  Let's go.

<b>                                STANLEY
</b>                  Why can't we talk here?

<b>                                GABRIEL
</b>                  'Cause I don't want to talk to you
                  in the house, Stanley.

     Gabriel walks out.       Stanley slowly follows.

<b>                                   GABRIEL
</b>                  Let's go.

     Stan slowly follows.


<b>92   INT. LAMBORGHINI - MOVING - NIGHT                                92
</b>
<b>                                GABRIEL
</b>                  How you doing, Stanley?

<b>                                   STANLEY
</b>                            (obviously not fine)
                  Fine.

<b>                                GABRIEL
</b>                  Something you need to say to me?

<b>                                STANLEY
</b>                         (freaked)
                  What the hell is going on here?

<b>                                GABRIEL
</b>                         (totally cool)
                  You know anything about Harry
                  Houdini?

     Stan definitely doesn't get the point.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                              67.
</b>
<b>92   CONTINUED:                                                     92
</b>
<b>                                GABRIEL
</b>                  He used to make an elephant
                  disappear in a theater full of
                  people. You know how he did it?

     Gabriel unwraps a piece of gum --

<b>                                  STANLEY
</b>                  How?

     -- and sticks the piece in his mouth.

<b>                                  GABRIEL
</b>                  Misdirection.

     Gabriel whips right down a side street and drops the
     hammer. He blows through a stop sign, then another.
     CARS CRASH. He is calm, cool, but continues to glance in
     his rearview mirror.

<b>                                STANLEY
</b>                  What are you doing?

<b>                                GABRIEL
</b>                  We have a tail.
                         (beat)
                  Hope you had a light lunch, Stan.

     Gabriel slides left into an alley, gets it under control
     and SCREAMS toward the other side. A black Suburban
     pulls up, closing off the alley. He slides to a stop and
     slams it into reverse. Backwards at 60-plus miles per
     hour.

<b>                                GABRIEL
</b>                  Hold the wheel.

     Gabriel reaches in the passenger floorboard and pulls up
     a duffel bag. He unzips it, and withdraws what the
     Marines call a SAW -- a Belgian-designed machine gun,
     compact but with 1500 rounds of Swiss cheese action per
     minute, powerful enough for the U.S. to replace the M-60.

<b>                                STANLEY
</b>                  Shit, it's blocked.

     Gabriel looks behind them, another black Suburban has
     blocked them in. The one from the other side and a third
     comes toward them down the alley.

<b>                                GABRIEL
</b>                  Keep it straight.

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                68.
</b>
<b>92   CONTINUED:    (2)                                                92
</b>
     The speedometer needle is pegged at 0 as they SCREAM
     backwards.

     Gabriel unfolds the stock and then withdraws a 100-round
     box wrapped in white tape and printed with AP. He clips
     it and pulls back the bolt. He grabs the wheel from
     Stan.

<b>                                GABRIEL
</b>                  It's just rough when you grow up
                  lovin' James Bond movies. Don't
                  worry, Stanley, it'll be over soon.


<b>     ANGLE ON LAMBO
</b>
     As the Diablo slams backwards into the Suburban at sixty
     mph. Bam.

     Gabriel unbuckles himself and stands up through the open
     roof and UNLOADS FULL-AUTO into the Suburban. The armor-
     piercing SHELLS PENETRATE the Armalite GLASS, RIPPING the
     occupants to shreds.

     Gabriel turns, FIRING at the other Suburban.

<b>                                  GABRIEL
</b>                  Drive, drive!

     Stanley slides under Gabriel as Gabriel steps into the
     passenger side. The wheels spin, the Lambo is wedged
     under the Suburban.

<b>                                  GABRIEL
</b>                  Go, go!

     Gabriel continues to BLAST FULL-AUTO, tearing the
     Suburban to shrapnel.

<b>                                  STANLEY
</b>                  I am!

     Finally the mortally wounded but still kicking
     Lamborghini tears free of the Suburban and rockets head- on
     toward the other. Stanley drives like a maniac.

     Gabriel RIPS it on FULL-AUTO, meatloafing the driver.
     The Suburban veers into the wall. Smack.

     Stanley whips beside it and Gabriel STRAFES down the
     side, opening it up. Stan whips right onto a main
     street.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                69.
</b>
<b>92   CONTINUED:    (3)                                                92
</b>
     More Suburbans head at them. Stan SCREAMS left into
     another alley. Through the cross streets whipping by at
     100 mph, we see Suburbans parallel to them.

     Stan cranks his wheel right.

<b>                                 STANLEY
</b>                  Shit!

<b>                                GABRIEL
</b>                         (changing out a clip)
                  Keep your cool, Stanley.

     The Lambo rolls to a stop and Gabriel hops out, running
     at the Suburbans.

     After a moment of all-out GI Joe-style blitzkrieg, it's
     over.

     Gabriel walks to a body lying in the street.    He turns
     over the body and looks at the face.

<b>                                 GABRIEL
</b>                  Goddamit.   I knew it.

     Gabriel walks back to one of the burning Suburbans where
     Stanley stands.

<b>                                GABRIEL
</b>                  Get in the fucking car, Stanley.

<b>                                STANLEY
</b>                  I'm not going anywhere until you
                  tell me what's going on.

     Gabriel pulls out his H&K, points it at Stanley.

<b>                                GABRIEL
</b>                  You're on my good side and you
                  want to stay there. Stanley, I
                  like you, but don't confuse
                  kindness with weakness. So, get
                  in the fuckin' car. I need my
                  hydra.

<b>                                                     FADE TO BLACK.
</b>

<b>     FADE IN:
</b>
<b>93   OMITTED                                                          93
</b><b>
</b><b>                                                           70.
</b>
<b>94   INT. GABRIEL'S HOUSE - LIVING ROOM - NIGHT                  94
</b>
     Stanley is working at his terminal.

<b>                              GINGER
</b>               Stanley?   You alright?

<b>                             STANLEY
</b>               What do you think? I just watched
               that maniac murder ten men in the
               street. I'm just fucking great.
               It doesn't matter if I get my
               daughter back if I'm dead. Even
               if I do survive this, who's gonna
               keep me out of jail? You?

     She walks over to him and kneels down, places her hand on
     his leg, looks up at him.

<b>                             GINGER
</b>               I won't let anything happen to
               you, Stanley. You have to trust
               me.

<b>                             STANLEY
</b>               Trust you? Two hours ago I
               found out you're D.E.A. The
               feds are crawling up my ass and
               there's a dead body in the
               basement that looks just like
               Gabriel.

     She doesn't move.

<b>                             GINGER
</b>               Stanley, if we don't find out who
               he's working for then we're just
               going to have to do this all over
               again.

<b>                             STANLEY
</b>               Your little slush fund is not my
               problem. I'm pulling the plug on
               this rodeo. Roberts may be an
               asshole, but he is definitely the
               lesser of the two evils.

<b>                             GINGER
</b>               I've been working on this thing
               for eight months, and I will not
               let some jarhead fed fuck up my
               operation. Please, I know what
               I'm doing.

<b>                                                   (CONTINUED)
</b><b>
</b><b>                                                               71.
</b>
<b>94   CONTINUED:                                                      94
</b>
<b>                                GINGER
</b>                  C'mon, Stanley. You have twelve
                  hours. Do what he wants. Finish
                  the worm.

<b>                                STANLEY
</b>                  You're starting to sound just like
                  him.

     They look at each other.    Stanley turns toward the
     computer screens.
<b>                                                       FADE TO BLACK.
</b>
<b>     FADE IN:
</b>
<b>95   OMITTED                                                         95
</b><b>&                                                                    &
</b><b>96                                                                   96
</b>

<b>97   CLOSEUP - FLY-FISHING REEL                                      97
</b>
     as it quickly unwinds.


<b>     EXT. RIVER - MORNING
</b>
     Reisman, dressed in your average, fly-fishing garb,
     stands in the shallow water of a wide river, thinking he
     has contained the situation, is doing what he enjoys
     most. He rewinds the reel and flicks it out again; the
     hook sails into the distance.

     A huge Cohiba cigar hangs from his satisfied grin.

     Faintly, we hear the WHINE OF MACHINERY. Jim hears it,
     too, odd since we are so far in the boonies. He looks
     around, then up and we PUSH IN TO a CLOSEUP.


<b>     REISMAN'S POV
</b>
     An evil-looking, camouflaged gunship suddenly crests the
     hill directly above him, ROTORS THUMPING.


<b>     BACK TO SCENE
</b>
     Reisman ducking, his cigar falling from his mouth, has to
     fight to hold on to his ridiculous fishing hat.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                72.
</b>
<b>97   CONTINUED:                                                       97
</b>
<b>     ANGLE FROM ABOVE HELICOPTER
</b>
     Water sprays everywhere as it hovers.

     Slowly it drifts over to the bank and lowers where it
     touches down briefly, the side door slides open.


<b>     ANGLE (SLOW MOTION)
</b>
     as Gabriel steps out and walks TOWARD us.     The copter
     lifts off behind him.


<b>     BACK TO SCENE
</b>
     Reisman drops his rod and digs into the fishing box at
     his right. Gabriel saunters toward him as the helicopter
     disappears over the rise. Reisman is not happy.

<b>                                GABRIEL
</b>                         (sniffing in air)
                  Ahh, the great American outdoors.
                  I'll never understand the appeal
                  of fly-fishing, Jim. A little too
                  much like masturbation for me,
                  without the payoff.

     Gabriel looks around, suddenly realizing something.

<b>                                GABRIEL
</b>                  This's a catch-and-release stream,
                  isn't it?

<b>                                  REISMAN
</b>                  That's right.

     Gabriel starts to laugh.      Reisman doesn't catch the joke.

<b>                                GABRIEL
</b>                  Oh c'mon, Jim. You gotta see the
                  irony in the chairman of the
                  Joint Sub-Committee on Crime,
                  fishing in a catch-and-release
                  stream.


<b>     CLOSEUP - REISMAN
</b>
     Grimaces, not thinking it is funny.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                              73.
</b>
<b>97   CONTINUED:    (2)                                              97
</b>
<b>     WIDER
</b>
<b>                                GABRIEL
</b>                  How could you do it, Jim? After
                  all we have sacrificed. All the
                  blood, all the death... I've
                  changed my identity so many times,
                  I don't even know what I look like
                  anymore. How could you turn on
                  me when we are so close?

<b>                                REISMAN
</b>                  You did this to yourself.

<b>                                GABRIEL
</b>                  You brought me in to get the job
                  done and you didn't want to know
                  about the consequences.

<b>                                REISMAN
</b>                  The F.B.I. was watching you --

<b>                                GABRIEL
</b>                  I told you there was nothing that
                  I was unaware of --

<b>                                REISMAN
</b>                  That's why we're here. You are
                  too arrogant, too aggressive --

<b>                                GABRIEL
</b>                  You have misplaced your loyalties,
                  Senator. You have sold America out.
                  I am a patriot, and patriotism does
                  not have a four-year shelf life.
                  Unfortunately, politicians do.

     Gabriel pulls out his H&K, dangling it by his side.

<b>                                REISMAN
</b>                         (arrogantly)
                  And what are you going to do
                  with that?

<b>                                GABRIEL
</b>                  Thomas Jefferson once shot a man
                  on the White House lawn for
                  treason, Senator. You tried to
                  execute me in the name of politics,
                  now I execute you in the name of
                  the people.

     Gabriel shoots Reisman in the chest.     He falls into the
     water.
<b>
</b><b>                                                                74.
</b>
<b>98     INT. GABRIEL'S HOUSE - LIVING ROOM - MORNING                   98
</b>
       Stanley continues to work.   Marco walks in.

<b>                               MARCO
</b>                 You're up, mate.

<b>                               STANLEY
</b>                 Great.

<b>                               MARCO
</b>                 Get your shit, we're headin' out.

       His hands fly across the computer keys, he slides in a
       zip disk, transfers the file, and runs for the door.


<b>99     EXT. GABRIEL'S HOUSE - MORNING                                 99
</b>
       Outside, Marco waits in his black Porsche Turbo ready to
       roll. Stanley walks out of the house.


<b>100    OMITTED                                                        100
</b>thru                                                                  thru
<b>103A                                                                  103A
</b>
<b>103B   INT. PARKING GARAGE (WASHINGTON, D.C.) - NIGHT                 103B
</b>
       A snazzy, sweat-suited Kaplan walks out to his shiny new
       silver Porsche, racquet ball racquet flipping in hand.
       He's so downright happy in his confidence that he is on
       the fast track to political Valhalla, due to his handling
       of this Gabriel Shear debacle, he is whistling.

       He CLICKS the Porsche key, unlocking the driver's door,
       tosses in his racquet and climbs in.


<b>103C   INT. KAPLAN'S PORSCHE - NIGHT                                  103C
</b>
       He shuts the door and slides the key into the ignition.
       Before he cranks it, he catches himself in the rearview
       and winks at himself.

       Smiling, he turns the key.

<b>       BOOM.
</b>
       The Claymore Mine hidden under his seat RIPS the CAR
       apart, shrapnel tearing upward through his body and out
       the roof.
<b>
</b><b>                                                                75.
</b>
<b>103D   INT. PARKING GARAGE (WASHINGTON, D.C.) - NIGHT                 103D
</b>
       The thousand pieces of SHRAPNEL divet the concrete ceiling
       and then bounce across the parking garage floor.


<b>104    EXT. DOWNTOWN THEATER - MORNING                                104
</b>
       Stanley is getting out of Marco's car.    Gabriel walks out
       of the theater back door.

<b>                               GABRIEL
</b>                        (over shoulder)
                 Make sure that bus doesn't top out
                 over fifteen-seven.

<b>                                  MERC (O.S.)
</b>                 Yessir.

       Gabriel turns and sees Stanley.

<b>                               GABRIEL
</b>                 Stan, how are you?

<b>                                  STANLEY
</b>                 Fine.

<b>                               GABRIEL
</b>                 Have you finished?

       Stan pulls out the zip disk and hands it to Gabriel who
       dials his cell phone.

<b>                                  GABRIEL
</b>                 Here.

<b>                                  STANLEY
</b>                 What?
                           (into phone)
                 Hello.

<b>                               OPERATOR (V.O.)
</b>                 Hello, Mr. Jobson. This is
                 Kristine Jorgenson of Credit
                 Suisse in Grand Cayman.
<b>                               (MORE)
</b>
<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                   76.
</b>
<b>104   CONTINUED:                                                         104
</b>
<b>                                 OPERATOR (V.O.) (CONT'D)
</b>                   I need to verify your new account
                   information and have you choose a
                   personal password.

<b>                                    STANLEY
</b>                   Why?

<b>                                 OPERATOR (V.O.)
</b>                   Mr. Jobson, there has just been a
                   transfer of ten million U.S.
                   dollars into your account.

      Stan looks at Gabriel who smiles.

<b>                                 GABRIEL
</b>                   Just like I promised, Stanley.

<b>                                 STANLEY
</b>                   Then let me go. I want to see my
                   daughter.

<b>                                    GABRIEL
</b>                   Soon, Stanley.     Walk with me.


<b>105   EXT. ALLEY - MORNING                                               105
</b>
<b>                                 GABRIEL
</b>                   I'm about to do something against
                   my better judgement. I'm going
                   to tell you something I never tell
                   anyone. I'm going to tell you
                   who I am.

<b>                                    STANLEY
</b>                   Don't bother.     I know who you are.

<b>                                   GABRIEL
</b>                   Do you?    You think I'm a bank
                   robber.    Really, I'm just like you.

<b>                                  STANLEY
</b>                   Like me?   You're a murderer.

<b>                                 GABRIEL
</b>                   That I am. And worse. Much worse.
                   I am forced to operate on a
                   different plane than you. But, I
                   have ethics. Rules to which I
                   must adhere.
<b>                                 (MORE)
</b>
<b>                                                           (CONTINUED)
</b><b>
</b><b>                                                                77.
</b>
<b>105   CONTINUED:                                                      105
</b>
<b>                                 GABRIEL (CONT'D)
</b>                   200 years ago Thomas Jefferson
                   wrote a letter to Madison because
                   he was concerned that the freedoms
                   of the constitution would be
                   ignored.

<b>                                 STANLEY
</b>                   I don't understand why the fuck
                   you're telling me this.

<b>                                 GABRIEL
</b>                   Listen to me and you will. In the
                   1950s, armed with this letter,
                   J. Edgar Hoover created an
                   organization to protect the
                   freedoms of this country at all
                   costs.

<b>                                 STANLEY
</b>                   I don't care about any of this.
                   All I care about is my daughter.

<b>                                 GABRIEL
</b>                   I'm talking about your daughter.

<b>                                    STANLEY
</b>                   My daughter...

<b>                                 GABRIEL
</b>                   Yes. You, your daughter and 200
                   million other Americans who take
                   their freedoms for granted. You
                   don't understand what it takes
                   to protect those freedoms. That's
                   my job, Stanley, to protect your
                   way of life at all costs.

<b>                                  STANLEY
</b>                   So you and your band of lunatics
                   are really stealing all this money
                   to protect me.

<b>                                 GABRIEL
</b>                   That's right, Stanley --

      He opens the theatre door.

<b>                                 GABRIEL
</b>                   -- 'cause wars cost money.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                 78.
</b>
<b>105   CONTINUED:    (2)                                                105
</b>
<b>      INT. THEATRE - MORNING
</b>
      Stan inside. It's as if he's just teleported into
      Beirut. Weapons, Hummers, a huge armored bus is
      jacked up at one end of the theatre. Gabriel's men go
      about readying themselves. One of the mercs walks over
      to Gabriel to show a modified electronic dog collar.

<b>                                 STANLEY
</b>                          (realization hitting
                           him)
                   You're going into the fucking bank.

<b>                                 GABRIEL
</b>                   That's what I'm telling you,
                   Stanley. We are at war.

<b>                                  STANLEY
</b>                   War?   Who are we at war with?

<b>                                 GABRIEL
</b>                   Anyone who infringes on America's
                   freedom. Terrorists' states,
                   Stanley. Someone must take their
                   war to them. They bomb a church,
                   we bomb ten. They hijack a plane,
                   we take out an airport. They
                   execute American tourists, we
                   tactically nuke an entire city.
                   We must make terrorism so horrific
                   that it becomes unthinkable to
                   attack Americans.

<b>                                  STANLEY
</b>                   I'm out. I'm not doing this.
                   You're insane.

<b>                                  GABRIEL
</b>                   Maybe. I wanted you to do this
                   because you wanted to, because we
                   need men like you, but our
                   time table's been moved up. Just
                   relax and it will all be over in
                   twenty-four hours. You're rich,
                   Stanley. Pretty soon Holly and
                   you will be basking in the sun on
                   the deck of some eighty-foot
                   scarab, eating bon bons and living
                   the good life.

      He turns to walk off. Stanley looks around. He spots a
      generator and moves toward it. Stanley reaches down to
      the power board on the generator and gives a large dial a
      twist.

<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                 79.
</b>
<b>105   CONTINUED:    (3)                                                105
</b>
      Suddenly, the hundreds of lights in the rack begin to
      arc. In a shower of GLASS they start EXPLODING from the
      huge amperage shooting through them from the generator.
      Gabriel turns to see Stan standing next to the generator.
      He moves toward him just as the room goes black.

      In a moment the secondary lights come up.    No Stanley.

<b>                                 GABRIEL
</b>                          (to himself)
                   Pretty slick.

<b>                                 MARCO
</b>                          (walking over)
                   You want to send a team after him?

<b>                                GABRIEL
</b>                   No. He'll be back. We gotta
                   move. Load up.

<b>      INTERCUT WITH:
</b>

<b>106   EXT. STREET (SOMEWHERE IN SANTA MONICA) - MORNING                106
</b>
      Early morning in Los Angeles.    People go peacefully about
      their early morning business.

      Suddenly, three red, white and blue Hummers crest a hill
      and tear TOWARD us down the street.

      Halfway down the street, they veer right, jump the curb,
      and SMASH through the front PLATE-GLASS WINDOWS of the
      World Banc.


<b>107   INT. CAB - MORNING                                               107
</b>
      Stanley rides in the back of a cab as the cab hauls ass
      to his ex-wife's house.


<b>108   INT. BANK - MORNING                                              108
</b>
      As the Hummers roll through the furniture and flying
      glass, the side doors fling open and well-dressed men in
      Italian suits and sunglasses jump out. Customers scream
      and try to flee but are quickly corralled with MACHINE
<b>      GUN BURSTS.
</b><b>
</b><b>                                                            80-85.
</b>
<b>109   EXT. STREET (SOMEWHERE IN SANTA MONICA) - MORNING           109
</b>
      A red FERRARI F50 whips around the corner at light speed,
      SCREAMS down the street TOWARD us and SCREECHES to a halt
      outside the bank. It shifts into reverse and slowly
      backs over the curb and into the bank.

      A huge armored bus rolls down the street, through two
      parked cars, and up onto the sidewalk, effectively
      sealing off the front of the glass bank. Mercs begin
      welding metal plates around the armored bus. We hear the
      approaching SIRENS of a fleet of cop cars.
<b>
</b><b>                                                                86.
</b>
<b>110   EXT. MALIBU HOUSE - MORNING                                     110
</b>
      The cab pulls up in front of Melissa's house.   Stanley
      jumps out and runs up to the front door.


<b>111   INT. BANK - MORNING                                             111
</b>
      Several of the mercs finish putting some sort of collars
      on several hostages, including a young, normally good-
      looking-but-now-covered-in-mascara, whimpering blonde
      girl.


<b>112   INT. MALIBU HOUSE - MORNING                                     112
</b>
      Stanley busts into her house. In the living room,
      Melissa and the infamous Larry the Porn King are both
      face-down in a pool of blood. Stan freaks. He runs from
      room to room yelling Holly's name. The house is
      deserted. Stanley bursts through the door into Holly's
      room. The room is empty and in disarray.


<b>      CLOSEUP - STANLEY
</b>
      As he looks out the window toward LA and pulls out
      Roberts' card.

<b>                                                      FADE TO BLACK.
</b>

<b>      BLACK SCREEN
</b>
<b>      SUPERIMPOSE:   FRIDAY, OCTOBER 18   8:45:33... 34... 35
</b>

<b>      FADE IN:
</b>
<b>113   INT. BANK                                                       113
</b>
      THROUGH glass doors, we see the woman slam into the
      locked doors. The SWAT guy pulls her into the street.


<b>114   EXT. STREET                                                     114
</b>
<b>      KABOOM!!!
</b>
      The EXPLOSION rips the SWAT guy and the girl from the
      beginning apart. This time we see it from ANOTHER ANGLE.
      BALL BEARINGS RICOCHET against the plate steel of the
      bank.
<b>
</b><b>                                                               87.
</b>
<b>115   EXT. STARBUCKS COFFEE SHOP - LOW SHOT - DAY                    115
</b>
      as the ball bearings bounce across the street and tap
      against the coffee shop.


<b>116   INT. STARBUCKS COFFEE SHOP (SLOW MOTION) - DAY                 116
</b>
      Everyone in the coffee shop looks at each other like,
      "What the fuck just happened?"


<b>117   EXT. STARBUCKS COFFEE SHOP - DAY                               117
</b>
      As ball bearings roll back into the street.


<b>118   INT. BANK - DAY                                                118
</b>
      Stanley is standing in the bank. Three mercs in Donna
      Karen suits point modified M-16s at his head. He stares
      at the ground, shaking his head. Gabriel tosses his
      frappacino against the wall.

<b>                              GABRIEL
</b>                Get that son-of-a-bitch on the
                phone.

      Gabriel walks towards the window, slinging his FN-FAL,
      and pulling on his headset. A.D. Joy answers.

<b>                              GABRIEL
</b>                If you need to test my resolve
                then God help you. You have 25
                minutes. That plane better be on
                the runway.

      He clicks off.    He turns to Stan.

<b>                              GABRIEL
</b>                Get my money, Stanley.

<b>                              STANLEY
</b>                Not until I see my daughter.

      Gabriel snaps his fingers and a ballistic cloth duffel
      bag is thrown to Gabriel. Gabriel is very unhappy. He
      looks at Stanley who is terrified of its contents.


<b>      CLOSEUP - DUFFEL BAG
</b>
      As he unzips it.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                88.
</b>
<b>118   CONTINUED:                                                      118
</b>
<b>      BACK TO STANLEY
</b>
      Stanley almost can't bear to look.


<b>      CLOSEUP - DUFFEL BAG
</b>
      As Gabriel slowly reaches in and... Pulls out our buddy
      the giraffe.


<b>      WIDER
</b>
      Stanley's heart almost stops.    He sighs as Gabriel tosses
      him the giraffe.

<b>                                 GABRIEL
</b>                   Do you really think I wanted it to
                   come to this. Do you? I am not a
                   psychopath, Stanley, but I told
                   you, I will sacrifice as many
                   lives as it takes to protect our
                   country, including my own.
                          (beat)
                   Now get me my money.

<b>                                 STANLEY
</b>                   Will you let Holly go once you
                   have the money?

<b>                                GABRIEL
</b>                   Both of you. You have my word,
                   Stanley. C'mon.

      They walk past a merc sitting at a desk, a laptop open in
      front of him.

      Marco is paying very close attention to Stan.


<b>119   INT. BANK - DAY                                                 119
</b>
      A merc sits at a desk with three laptops and four tiny
      extra monitors, all wired into a large bundle of cables
      that run across the floor.

<b>                                 GABRIEL
</b>                   We okay?

      The   merc looks up. On the monitors and laptop screens
      are   present-time shots of all angles of the building and
      the   surrounding area. The images constantly change as
      the   merc toggles through the images.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                               88A.
</b>
<b>119   CONTINUED:    (A1)                                              119
</b>
<b>                                 MARCO
</b>                   Look at the cover pattern they've
                   set up. The right hand doesn't
                   know what the left's doing.
<b>                                 (MORE)
</b>
<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                89.
</b>
<b>119   CONTINUED:                                                       119
</b>
<b>                                 MARCO (CONT'D)
</b>                   Look at this bozo. If the shit
                   drops, he's gonna cap his buddy in
                   the back of the head. Idiots.

      Stanley sits down at the computer console and brings up
      the bank's mainframe.

<b>                                 STANLEY
</b>                   I need the disk.

      A merc hands it to him and Stanley slides it in the
      computer. His hands work quickly.


<b>120   INT. COFFEE SHOP - DAY                                           120
</b>
      It is 9:15.

<b>                                                        DISSOLVE TO:
</b>

<b>121   INT. BANK - DAY                                                  121
</b>
      Now it is 9:35.

<b>                                  STANLEY
</b>                   Almost done.

      Suddenly the lights flicker, Stan's screen blanks out
      momentarily, then blazes back to life, his code
      scrambled. Stan instinctively jerks his hands away from
      the keyboard.

<b>                                STANLEY
</b>                   Whoa! What the hell just
                   happened?

      Gabriel looks at the lights as they flicker back on, the
      huge portable GENERATOR springing to life.

<b>                                 GABRIEL
</b>                   They just cut the power. Forget
                   it. How long to transfer the
                   money?

<b>                                 STANLEY
</b>                   Couple of minutes. Which
                   accounts?

<b>                                 GABRIEL
</b>                   National Bank of Zurich. Spread
                   it evenly over these accounts. It
                   won't be there that long.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                              90.
</b>
<b>121   CONTINUED:                                                    121
</b>
<b>                                      STANLEY
</b>                            (dryly)
                   Great.

<b>                                 GABRIEL
</b>                   Good job, Stanley, I got someone
                   who wants to see you.

      They bring Holly out.

<b>                                      STANLEY
</b>                   Holly!

      Stanley grabs her and pulls her close to him.

<b>                                      STANLEY
</b>                   Are you okay?

      Holly nods yes. Stanley and Holly are escorted toward
      the door. Gabriel stands in front, holding his FN-FAL.
      He is speaking in French to several of the mercs.

<b>                                      GABRIEL
</b>                   Hold up.

      Stanley stops. Gabriel walks down the steps and unhooks
      Holly's collar. Stan is about to freak.

<b>                                 GABRIEL
</b>                          (to Stanley)
                   Told you I was a man of my word,
                   Stanley.

      He walks back. Marco unlocks the door. Stanley and
      Holly look at each other. Holly starts to cry.

<b>                                   STANLEY
</b>                   It's okay.    I love you, baby.

      Marco stares at Stanley as they walk out.

<b>                                      MARCO
</b>                   See ya around.

<b>                                      STANLEY
</b>                   I doubt it.

      He starts to walk out...

<b>                                 CYPHER MERC #3
</b>                   Sir, the money just disappeared.

<b>                                      GABRIEL
</b>                   What?

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                               91.
</b>
<b>121   CONTINUED:    (2)                                              121
</b>
<b>                                 CYPHER MERC #3
</b>                   The money, it's gone.

      Gabriel turns around to look at Stanley.    We ZOOM INTO a
      CLOSEUP. He's pissed.

<b>                                 GABRIEL
</b>                   What do you mean, gone?


<b>      WIDER
</b>
      We see Stanley. He looks like he just got caught with
      his hand in the cookie jar.

<b>                                  STANLEY
</b>                   Shit!   Run, Holly!

<b>                                  GABRIEL
</b>                   Get her!

      Marco pulls his assault rifle but Stanley waylays him.
      They both hit the ground.


<b>122   EXT. BANK - DAY                                                122
</b>
      Holly hauls ass into the street. Once the FBI SWAT guys
      see she is off the sidewalk, they scoop her up.


<b>123   INT. BANK                                                      123
</b>
      Gabriel jerks out his weapon and jams it against Stan's
      head as he and Marco roll around on the ground.

<b>                                 STANLEY
</b>                   Won't do you any good. The money
                   jumps every 60 seconds from one
                   numbered account to another and
                   will for the next ten years.
                   'Course it wasn't supposed to
                   happen for another six hours. The
                   power surge must have scrambled
                   the internal clock. But, you kill
                   me and you never get a single
                   dollar.

      Gabriel eases up, wheels spinning at millions of RPMs.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                    92.
</b>
<b>123   CONTINUED:                                                          123
</b>
<b>                                 STANLEY
</b>                   You let the hostages go and then
                   I'll tell you where and when you
                   can extract the money. We all
                   walk away, nobody gets hurt. The
                   accounts are encrypted with a 1024
                   bit cipher. Even I can't break
                   through the fire wall. It's my
                   act of God policy.
                          (beat)
                   Deal?

<b>                                   GABRIEL
</b>                   I'm thinking.

      A very tense moment passes.      Gabriel looks around.   He
      has an idea.

<b>                                   GABRIEL
</b>                   Tell ya what.    No deal.

      Marco pulls a length of towing cable from one of the
      Hummer's winches and throws the line over one of the 30-
      foot-high ceiling buttresses.

      Gabriel grabs the cable as it comes down as two mercs
      rush in and grab Stanley, one placing a knife to his
      throat.

<b>                                  GABRIEL
</b>                   Marco!   Grab Agent Sculley!

      Marco grabs Ginger and drags her kicking, fighting, over
      to where Gabriel stands, brandishing the cable.

<b>                                 STANLEY
</b>                   No, don't do this.

      Stanley struggles like there is no tomorrow. Gabriel
      hooks the end into a noose with the tow hook, and puts it
      over Ginger's head, pulling it taut around her neck. He
      cuts the cable-tie loose. She digs at them with her
      fingers.

      Two mercs rush in and grab Stanley, one placing a knife
      to his throat.

      Stanley struggles like there is no tomorrow.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                93.
</b>
<b>123   CONTINUED:    (2)                                               123
</b>
<b>                                 GABRIEL
</b>                   In all reality, Stan, she has you
                   to thank for this. That first
                   night in Prague you broke the
                   D.O.D. database that contained her
                   true identity. She's D.E.A.,
                   Stan, but without you, I never
                   would have known.

<b>                                 STANLEY
</b>                          (freaking)
                   What are you doing? Stop!

<b>                                 GABRIEL
</b>                   String up the D.E.A. bitch.

      Marco hits the power switch. Ginger is yanked up into
      the air, hanging twenty feet above the floor.

<b>                                 STANLEY
</b>                   Just let her down. I'll do
                   whatever you want.

<b>                                 GABRIEL
</b>                   Then get me my money, Stan.

      Stanley looks up at Ginger, valiantly struggling for her
      life.

<b>                                 STANLEY
</b>                   I'm not doing shit until you bring
                   her down. I'm serious. Let her
                   down. Now!

<b>                                 GABRIEL
</b>                   Okay.

      Gabriel yanks out his .40 cal. H&K, turns and SHOOTS the
      hanging Ginger.

<b>                                 STANLEY
</b>                   Nooo...

      Stanley looks at her lifeless body as they lower her.

      He looks up at Gabriel and runs at him.

      Gabriel slaps him in the throat, spinning him, and grabs
      Stan around the neck in the crook of his arm.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                  94.
</b>
<b>123   CONTINUED:    (3)                                                 123
</b>
<b>                                 GABRIEL
</b>                          (close and very serious)
                   Take a moment, big guy. Don't
                   make me put you in a wheelchair.

      In the b.g. two mercs zip Ginger's body into a black body
      bag and carry her out.

<b>                                 STANLEY
</b>                   You didn't have to kill her.

<b>                                 GABRIEL
</b>                   I didn't Stan, you did.    But we're
                   not done yet.
                          (to Marco)
                   Marco...

      Marco yanks a seventeen-year-old girl up from the floor
      and puts a gun to her head.

<b>                                 GABRIEL
</b>                   There are a lot of hostages here.
                   I cared about Ginger, can you
                   imagine what I could do to someone
                   I don't care about. How long
                   before the money jumps?

<b>                                    STANLEY
</b>                   Sixty seconds.

<b>                                 GABRIEL
</b>                   They better hope you installed a
                   back door or it could be a long
                   day. Somebody get me a laptop.

      A laptop appears. Gabriel hands it to Stanley and nods
      to the mercs who drop him. Stanley drops to his knees,
      placing the computer on the ground.

      Stanley has logged onto the net via modem and we hear
      that familiar PULSE as he does. He connects onto an
      encrypted site on the net. His fingers hum over the
      keys.

<b>                                 COMPUTER MERC
</b>                          (looking at a screen)
                   Money just jumped.

<b>                                 GABRIEL
</b>                          (looking at his watch)
                   Okay, Stan. Sixty seconds.

<b>                                                          (CONTINUED)
</b><b>
</b><b>                                                                   95.
</b>
<b>123   CONTINUED:    (4)                                                  123
</b>
      Sweat rolls down Stanley's face as he works on the
      machine. Numbers scroll across the screen. Five columns
      of numbers scroll.

<b>                                 GABRIEL
</b>                   Forty-five seconds, Stanley.

<b>                                 STANLEY
</b>                   I need another laptop, logged on!

      He tries to keep from looking up at the crying hostage.
      The columns decrease. Another laptop appears.

<b>                                 GABRIEL
</b>                   Twenty seconds, Stan.

      His fingers still fly. Three columns now.         He works on
      the other laptop with his right hand.

<b>                                  GABRIEL
</b>                   Fifteen.   She's gonna die,
                   Stanley.

<b>                                   STANLEY
</b>                   Shut up!

      Two.   Then one.

<b>                                   STANLEY
</b>                   C'mon, c'mon.

      It scrolls down to one number.

<b>                                   GABRIEL
</b>                   Ten.

      The home page for Grand Cayman Banc appears on the other
      laptop. "Account Number" appears.

<b>                                 GABRIEL
</b>                   Nine... Eight... Seven.

      Stanley has typed in the account number and accesses the
      account. He flies through the transfer information.
      Account balance. 6.9 billion dollars.

<b>                                 STANLEY
</b>                   I need your account number.

      Someone hands him a legal pad.         He types it in.

<b>                                 GABRIEL
</b>                   Four, three, two...

<b>                                                           (CONTINUED)
</b><b>
</b><b>                                                                      96.
</b>
<b>123    CONTINUED:    (5)                                                    123
</b>
       "Transfer?" -- "Yes" -- TRANSFERRING.

<b>                                  GABRIEL
</b>                    One.

<b>                                  STANLEY
</b>                    Let her go.

       Stanley jumps up and runs over to Marco.        Gabriel puts
       his gun to the back of Stanley's head.

<b>                                  STANLEY
</b>                    Now, goddammit, it's done.   Let
                    her go!

       Gabriel looks at one of his boys who is checking it with
       a different laptop. He nods. Marco drops the girl.

<b>                                  GABRIEL
</b>                    Well, that was fun.

       A MERC holding a cell phone.

<b>                                  MERC
</b>                    Joy says the plane is ready.

<b>                                  GABRIEL
</b>                    Well, 'bout time for us to leave.

<b>                                  STANLEY
</b>                    They'll never let you escape.
                    You've gone too far.

<b>                                  GABRIEL
</b>                    Au contraire. Do you hear that?
                           (beat)
                    That's the sound of America
                    watching.


<b>123A   EXT. BUS                                                             123A
</b>
       We MOVE UP THROUGH the roof of the bank, the sky is
       filled with the THUMPING of NEWS HELICOPTERS.


<b>124    INT. BUS - DAY                                                       124
</b>
       They lead the hostages, including Stanley, onto the bus.
       He is pushed down into the back.

<b>                                  GABRIEL
</b>                           (to the driver)
                    Let's roll.

<b>                                                           (CONTINUED)
</b><b>
</b><b>                                                                96A.
</b>
<b>124    CONTINUED:                                                      124
</b>
       The driver pulls the door lever and it closes.

       The bus pulls into gear and slowly moves forward. The
       cops and FBI agents just stare vacantly at the bus.


<b>124A   OMITTED                                                         124A
</b>

<b>125    INT. STARBUCKS COFFEE SHOP - DAY                                125
</b>
<b>                                  ROBERTS
</b>                    You just gonna let them drive the
                    fuck on outta here?

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                97.
</b>
<b>125    CONTINUED:                                                     125
</b>
<b>                                  A.D. JOY
</b>                    There isn't a free cop in a
                    hundred miles that isn't on his
                    ass. He wants a plane. He'll
                    get a plane.


<b>125A   EXT. SANTA MONICA AIRPORT - DAY                                125A
</b>
       A G5 sits waiting on the tarmac.    SWAT teams move in to
       cover positions around it.


<b>125B   INT. STARBUCKS COFFEE SHOP - DAY                               125B
</b>
<b>                                  A.D. JOY
</b>                    He won't get away. We'll take
                    them at the airport. Let's go.

       They exit. Roberts tosses the paper he was reading down
       on the table and walks out, shaking his head.


<b>       CLOSEUP - NEWSPAPER
</b>
       The headline reads, "U.S. SENATOR JAMES REISMAN (GEORGIA)
<b>       FOUND DEAD, VICTIM OF FREAK FISHING ACCIDENT."
</b>

<b>125C   EXT. STARBUCKS COFFEE SHOP - DAY                               125C
</b>
       Joy and Agent Thomas jump in a waiting car, ready to head
       toward the airport. Roberts watches them, then com-
       mandeers another vehicle, tearing ass after the bus.


<b>126    EXT. BUS - DAY                                                 126
</b>
       The bus rolls down the street. Slowly one by one, car
       with flashing lights after car with flashing lights pulls
       up behind it until a convoy rivaling that of the
       Sugarland Express has built up. Choppers drop out of the
       air, shadowing the bright yellow school bus.


<b>126A   EXT. BUS - DAY                                                 126A
</b>
       Gabriel's voice booms from speakers on the exterior of
       the bus.

<b>                                  GABRIEL (V.O.)
</b>                    I don't think any of us want a
                    repeat of this morning. Keep at
                    least a hundred yards from this
                    bus at all times and I want the
                    airspace for five miles clear.
<b>
</b><b>                                                             98.
</b>
<b>127    INT. BUS - MOVING - DAY                                     127
</b>
<b>                               GABRIEL
</b>                        (dropping the mic
                         and turning to the
                         hostages)
                 Ladies and gentlemen, we will be
                 in your lives for approximately 55
                 more minutes. This bus has just
                 become your new yard. So sit
                 back, think happy thoughts, and
                 this will be over before you can
                 say 'cat in the hat.'

       Gabriel, smiling, turns to Stanley.

<b>                               GABRIEL
</b>                 Whaddaya think, Stanley?

<b>                               STANLEY
</b>                 You'll never get away. Even if
                 they have to kill everyone on
                 the bus.

<b>                               GABRIEL
</b>                 Really? Five hundred bucks says I
                 do. Tell ya what, Stanley, I'll
                 even spot you the five bills.

       Gabriel walks to the front of the bus, puts on a headset,
       and keys a mic.


<b>128    OMITTED                                                     128
</b>thru                                                               thru
<b>132                                                                132
</b><b>
</b><b>                                                                99.
</b>
<b>133    INT. BUS - DAY                                                 133
</b>
       We are moving through the city. Behind the bus, a huge
       caravan of police cars and SWAT trucks follow.

<b>                                 GABRIEL
</b>                 Stan, c'mere.

       Stan slides out of the seat and walks to the front with
       Gabriel. All the hostages' eyes are on him. At the
       front he looks at Gabriel.

<b>                                 GABRIEL
</b>                 Take a look.

       Cops block off side streets as the convoy, ala The
       Gauntlet, rolls through L.A.

       Gabriel seems to be in complete control, despite being
       surrounded by every law enforcement officer within a
       hundred miles.


<b>133A   INT. BUS - DAY                                                 133A
</b>
       Stan turns to Gabriel, angry.   He grabs him, pushing him.

<b>                               STANLEY
</b>                 How the fuck can you justify all
                 this?

<b>                               GABRIEL
</b>                 You're not looking at the big
                 picture.

       Gabriel pushes him backward against the hand rail.

<b>                               GABRIEL
</b>                 Stanley, here's a scenario. You
                 have the power to cure all of the
                 world's diseases. But the price
                 for this is that you must kill a
                 single, innocent child. Could you
                 kill that child to save the world?

<b>                                 STANLEY
</b>                 No.

<b>                               GABRIEL
</b>                 You disappoint me, Stanley.   It's
                 the greatest good.

       Silence for several beats.

<b>                               STANLEY
</b>                 How about ten innocents?

<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                 100.
</b>
<b>133A   CONTINUED:                                                       133A
</b>
<b>                                  GABRIEL
</b>                    Now you're getting it.   How about
                    a hundred?

       Gabriel becomes intense.

<b>                                  GABRIEL
</b>                    How about a thousand? Not to save
                    the world, but just to preserve
                    our way of life.

<b>                                  STANLEY
</b>                    No man has the right to make that
                    decision. You're no different
                    than any other terrorist.

<b>                                  GABRIEL
</b>                    You're wrong, Stanley. Some men
                    are put here to shape destiny, to
                    protect freedom, despite the
                    atrocities they must commit. I am
                    one of those men. Thousands die
                    every day for no reason at all,
                    where is your bleeding heart for
                    them? You give your twenty
                    dollars to Greenpeace every year
                    and think you are changing the
                    world. What countries will
                    harbor terrorists, when they
                    realize the consequences of what
                    I will do? Did you know I can
                    buy nuclear warheads in Minsk
                    for forty million each? I buy
                    half a dozen, I even get a
                    discount.

       The driver, looking at his watch, says something to
       Gabriel in French.

       Gabriel replies to the driver, also in French.


<b>       CLOSEUP - DRIVER
</b>
       as the driver shifts down.


<b>       CLOSEUP - DRIVER'S FOOT
</b>
       Pressing down the accelerator.

<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                     100A.
</b>
<b>133A   CONTINUED:    (2)                                                  133A
</b>
<b>       CLOSEUP ON SPEEDOMETER
</b>
       Nudging toward eighty.

<b>                                     STANLEY
</b>                    What the fu --

<b>                                  GABRIEL
</b>                    I saw Sugarland Express, Stan.
                    Didn't like the way it ended.

       We see a sign that says "LAX."          The bus turns off before
       they get to the sign.


<b>134    OMITTED                                                            134
</b>

<b>135    INT. BUS - DAY                                                     135
</b>
<b>                                  STANLEY
</b>                    I thought we were going to the
                    airport.

<b>                                  GABRIEL
</b>                    Misdirection, Stanley.

       The bus hurtles down a road toward a bridge over the LA
       river.


<b>       CLOSEUP ON ONE OF HOSTAGE'S EYES
</b>

<b>       WIDER
</b>
       One of the mercs in the front speaks French again.
       Gabriel looks around. He smiles.

<b>                                     GABRIEL
</b>                    Listen...

       Faintly, we can hear powerful ROTORS APPROACHING.

<b>                                     GABRIEL
</b>                    Gentlemen...

       Stanley looks out the window as two of the mercs scramble
       through hatches in the roof.


<b>136    OMITTED                                                            136
</b><b>
</b><b>                                                                100B.
</b>
<b>137    EXT. SKY - DAY                                               137
</b>
       A huge black Sikorsky sky crane drops out of the sky. It
       has matched speed with the bus dragging four crane cables
       under it.


<b>137A   EXT. BUS (MOVING) - DAY                                      137A
</b>
       Within moments, as the bus speeds onto the bridge, the
       mercs on the roof have hooked the cables to the four
       hard-points welded into the bus' substructure for just
       this purpose. The mercs drop back into...


<b>138    INT. BUS - DAY                                               138
</b>
<b>                                 GABRIEL
</b>                 Hold on.


<b>139    EXT. STREET - DAY                                            139
</b>
       The bus is lifted from the bridge into the air.


<b>139A   INT. CAR - DAY                                               139A
</b>
       Roberts, hauling ass after the bus, sees the Sikorsky.

<b>                               ROBERTS
</b>                 Well why the fuck not.


<b>140    OMITTED                                                      140
</b>

<b>140A   EXT. SANTA MONICA AIRPORT - DAY                              140A
</b>
       The SWAT teams sit and just continue to wait for Gabriel,
       who will never show up.
<b>
</b><b>                                                            101.
</b>
<b>140B   OMITTED                                                     140B
</b>

<b>140C   EXT. SANTA MONICA AIRPORT - DAY                             140C
</b>
       Joy and Agent Thomas come SCREECHING up at the airport.
       Agent Thomas's PHONE RINGS and he answers it. Joy walks
       over to the SWAT leader.

<b>                               A.D. JOY
</b>                 Everything in place?

<b>                               AGENT TORRES
</b>                 We're ready, sir.

<b>                                  A.D. JOY
</b>                 Good --

<b>                               AGENT THOMAS
</b>                        (running up)
                 -- sir...

<b>                                  A.D. JOY
</b>                 Yeah?

<b>                               AGENT THOMAS
</b>                 I don't think they're coming.

<b>                               A.D. JOY
</b>                 What do you mean you don't think
                 they're coming?

<b>                                AGENT THOMAS
</b>                        (listening to the
                         phone)
                 The bus was just lifted off the
                 street by a giant helicopter.

<b>                                  A.D. JOY
</b>                           (freaking)
                 What?!?


<b>141    INT. BUS - DAY                                              141
</b>
<b>                               GABRIEL
</b>                        (laughing)
                 The only way to fly, huh, Stanley.

       Gabriel says something in French into the radio.


<b>142    EXT. L.A. SKY - DAY                                         142
</b>
       The sky crane/bus head toward downtown.
<b>
</b><b>                                                          A101A.
</b>
<b>143   INT. BUS - DAY                                          143
</b>
      The bus flies through the canyons of the downtown
      buildings as it continues to lift.
<b>
</b><b>                                                              101A.
</b>
<b>144   EXT. BUS - DAY                                              144
</b>
      Suddenly the bus crests a smaller building, and a large
      sign looms directly in its flight path.


<b>145   INT. BUS - DAY                                              145
</b>
<b>                              GABRIEL
</b>                Bank right!


<b>146   EXT. BUS - DAY                                              146
</b>
      The Sikorsky swings right but not fast enough. It
      SMASHES through the sign and heads directly at a huge
      glass building.


<b>147   INT. HUGE GLASS BUILDING - DAY                              147
</b>
      BROKERS in a bullpen go about their trading business.
      One looks up as the bus flies toward the huge plate glass
      windows.

<b>                              BROKER
</b>                Holy sh...

      His cohorts look up just as the BUS SLAMS INTO the
      BUILDING, SHATTERING the WINDOWS.


<b>148   INT. BUS - DAY                                              148
</b>
      Everyone holds on for dear life.


<b>149   EXT. L.A. SKY - DAY                                         149
</b>
      The bus falls on one side. The resulting tension snaps
      the sliced cable and the entire rear section of the bus
      dangles.


<b>150   INT. BUS - DAY                                              150
</b>
      Chaos. Hostages slam into each other as the bus falls.
      One of the hostages flies down the center of the bus,
      collides with Marco, and both go out through the back
      window.


<b>151   EXT. L.A. SKY - DAY                                         151
</b>
      Forty feet from the bus they EXPLODE.
<b>
</b><b>                                                                102.
</b>
<b>152   INT. BUS - DAY                                                   152
</b>
      The concussion BLOWS OUT every WINDOW of the bus.   The
      hostages scramble to hold on.


<b>153   EXT. L.A. SKY - DAY                                              153
</b>
      The bus now hangs suspended perpendicular to the ground.
      The Sikorsky starts to climb again.


<b>154   OMITTED                                                          154
</b><b>&                                                                      &
</b><b>155                                                                    155
</b>

<b>156   INT. BUS - DAY                                                   156
</b>
      Gabriel turns to the merc driving the bus, who is wearing
      a headset.

<b>                              GABRIEL
</b>                We okay?

<b>                              DRIVER
</b>                       (listening to his
                        headset, then)
                We'll make it, sir.


<b>157   EXT. L.A. SKY - DAY                                              157
</b>
      The Sikorsky flies upward to the top of the highest
      skyscraper.


<b>158   EXT. DOWNTOWN L.A. STREETS - DAY                                 158
</b>
      Roberts chases after the bus. He looks up, realizing
      where they are going and veers off, short-cutting toward
      the skyscraper.


<b>159   EXT. SKYSCRAPER ROOF - DAY                                       159
</b>
      The Sikorsky attempts to set the bus on the rooftop. The
      back wheels miss the rooftop and the entire bus starts
      sliding toward the edge. The Sikorsky lifts the entire
      bus back up into the air and then gingerly sets it on the
      rooftop on all four wheels. The CABLES are cut loose
      from the helicopter, and drop down onto the ROOF with a
      loud CLANG.


<b>160   EXT. DOWNTOWN L.A. STREETS - DAY                                 160
</b>
      Roberts rushes to the building.
<b>
</b><b>                                                                103.
</b>
<b>161   EXT. SKY - DAY                                                   161
</b>
      The helicopter then disappears upward into the sky.


<b>      ON ROOF
</b>
      Mercenaries begin to pile off the bus.


<b>162   INT. BUS - DAY                                                   162
</b>
      Stan watches.


<b>163   EXT. BUILDING - DAY                                              163
</b>
      SWAT trucks pull up and SWAT guys roll out.


<b>164   INT. BUILDING - DAY                                              164
</b>
      Roberts rushes into the skyscraper.


<b>165   OMITTED                                                          165
</b>

<b>166   INT. BUILDING - DAY                                              166
</b>
      SWAT commandos hit the stairs and elevators.


<b>167   EXT. SKYSCRAPER ROOF - DAY                                       167
</b>
      Sitting there on a helipad is an evil-looking, matte-
      black, Explorer helicopter.

      Gabriel and his men walk off the bus toward the waiting
      helicopter. Gabriel turns back to Stanley who is
      standing on the stairs of the bus.

      We hear the sound of hundreds of SIRENS APPROACHING.

<b>                              GABRIEL
</b>                Well, Stanley, gotta fly. Take
                care of that little girl. Maybe
                I'll see you again one day.

<b>                              STANLEY
</b>                It can't end like this.     You can't
                get away.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                                  104.
</b>
<b>167    CONTINUED:                                                        167
</b>
<b>                                  GABRIEL
</b>                    C'mon, Stan. Everything doesn't
                    always end the way you think it
                    will.
                           (beat, then)
                    'Sides, audiences love happy
                    endings.

       Gabriel strides away. We hear the WHINE of the EXPLORER
       as it does its final POWER UP for lift off.

       Stanley looks around the bus futilely for some way to
       stop Gabriel. Stan can hear the cavalry about to arrive.
       The Explorer slowly lifts upward.


<b>168    EXT. SKYSCRAPER ROOF - DAY                                        168
</b>
       The Explorer shoots upward into the sky.


<b>169    OMITTED                                                           169
</b>

<b>169A   INT. BUS                                                          169A
</b>
       Stan looks around, all the hostages look back at him.
       Stanley sees one of the Stinger missile launchers, broken
       free of its box.


<b>169B   EXT. BUS                                                          169B
</b>
       Roberts runs onto the roof and sees Stanley who has the
       STINGER to his shoulder. He hits the "on" switch and
       it WHINES TO LIFE.

       He sights through the scope as the EXPLORER SCREAMS away
       and pulls the trigger. The MISSILE RIPS OUT of the tube
       and flies toward the EXPLORER.

<b>       BOOM.
</b>
       The MISSILE EXPLOSION combined with the fuel creates a
       tremendous fireball.

       Roberts runs and tackles Stanley to the ground. Suddenly,
       SWAT GUYS dressed in full combat gear including masks that
       cover their faces surround them.

       They cuff them.    One of them almost steps on Stanley's
       face.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                              105.
</b>
<b>169B   CONTINUED:                                                    169B
</b>
<b>                                   ROBERTS
</b>                    I'm F.B.I...

<b>                                  SWAT GUY
</b>                           (ignoring him)
                    Check the rest of the hostages,
                    we'll come back for them.
<b>                                                      (CONTINUED)
</b><b>
</b><b>                                                                 106.
</b>
<b>169B   CONTINUED:                                                       169B
</b>
       Stretchers and EMT medics run into the bus. We CRANE UP.
       And see the absolute pandemonium of ambulances leaving
       and police cars arriving.

<b>                                                         FADE OUT.
</b>

<b>       FADE IN:
</b>
<b>170    INT. FORENSIC LAB - NIGHT                                        170
</b>
       We see DOCTOR MICHEALS leaning over what is left of
       Gabriel's barely recognizable burned upper torso and
       head. Stan and Roberts walk into the room through the
       metal doors and stop at the end of the table. Dr.
       Micheals nervously looks up at Stanley and steps back.
       Stanley looks down at the body.

<b>                                  STANLEY
</b>                    Are we sure this is Gabriel?

       Micheals walks over to a light-board on the wall and
       flicks it on. A full dental X-ray glows. Micheals hangs
       another over-top of it.

<b>                                  DOCTOR MICHEALS
</b>                    The body's dentals exactly match
                    the dentals the Israeli government
                    sent us for an ex-Mossad agent
                    named Gabriel Shears.


<b>       CLOSEUP ON FACE
</b>
       It is indeed Gabriel a.k.a. Gabriel Shear.


<b>       WIDER
</b>
<b>                                  ROBERTS
</b>                    It sure looks like Gabriel Shear.
                    What the hell was he doing in
                    that bank?

<b>                                  STANLEY
</b>                    What about Ginger?

<b>                                  TORRES
</b>                    We searched all the hospitals and
                    morgues but we haven't been able
                    to find her body yet.

<b>                                  STANLEY
</b>                    You can't find her body?

<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                   107/108.
</b>
<b>170   CONTINUED:                                                       170
</b>
<b>                                    TORRES
</b>                   No, sir.

<b>                                 ROBERTS
</b>                   Keep looking. Bodies just don't
                   fucking disappear.

      Roberts' voice slowly FADES as we PUSH IN ON Stanley,
      internal wheels spinning.

<b>                                 STANLEY
</b>                          (to himself)
                   Disappear...

<b>                                                        FADE TO:
</b>

<b>      1910 STOCK FOOTAGE
</b>
      Houdini's favorite elephant trick going on inside Stan's
      head.


<b>      INT. BIG TOP - DAY
</b>
      A large crowd of people surrounds Houdini and pale-suited
      assistants in front of a large elephant in the center
      ring.

<b>                                 GABRIEL (V.O.)
</b>                   Houdini made an elephant disappear
                   in a room full of people.

      His assistants pull a curtain all the way around the
      elephant.

<b>                                 GABRIEL (V.O.)
</b>                   You know how he did it?

<b>                                                        CUT TO:
</b>

<b>      INT. CURTAIN - DAY
</b>
<b>                                    GABRIEL (V.O.)
</b>                   Elephant suit.     Filled with his
                   assistants.

      We see his assistants jump out of the elephant and hang
      the suit inside the curtains.

<b>                                 GABRIEL (V.O.)
</b>                   Assistants jump out. Blend in
                   with the others.

<b>                                                         (CONTINUED)
</b><b>
</b><b>                                                                A108A.
</b>
<b>170    CONTINUED: (2)                                               170
</b>
<b>       INT. BIG TOP - DAY
</b>
       Houdini's assistants pull back the curtain, melding with
       the assistants inside, unbeknownst to the audience of
       course.

<b>                                 GABRIEL (V.O.)
</b>                 Voila.

       The elephant is gone.   Houdini throws up his hands.

<b>                               GABRIEL (V.O.)
</b>                 No more elephant.


<b>171    FLASHBACK - SWAT GUYS                                        171
</b>
       in black urban assault gear, pushing Stan to the ground.

<b>                                                      CUT TO:
</b>

<b>172    OMITTED                                                      172
</b>

<b>173    CLOSEUP - STANLEY (PRESENT)                                  173
</b>
       Realization sinking in.


<b>173A   INT. GABRIEL'S HOUSE - GINGER'S ROOM                         173A
</b>
       Ginger looks at him, holding her Glock, a wire taped
       between her breasts.

<b>                               GINGER
</b>                 I'm D.E.A., Stanley.


<b>       CLOSEUP - GINGER
</b>
<b>                                 GINGER
</b>                 Trust me.
<b>
</b><b>                                                               108A.
</b>
<b>173B   CLOSEUP - STANLEY - PRESENT                                 173B
</b>
<b>                               GABRIEL (V.O.)
</b>                 -- so advanced nowadays you could
                 probably pilot it from your
                 trailer.

<b>                                                     CUT TO:
</b>

<b>174    FLASHBACK - GABRIEL                                         174
</b>
<b>                               GABRIEL
</b>                        (smiling)
                 Misdirection...


<b>175    INT. GABRIEL'S HOUSE - WINE CELLAR - DAY                    175
</b>
       Gabriel's "face" smooshed against the glass door.
<b>
</b><b>                                                              109.
</b>
<b>176   BACK TO ROBERTS (PRESENT)                                      176
</b>
      Roberts looks at him inquisitively.


<b>      ANGLE ON STANLEY
</b>
      As a wry Indiana Jones smirk slowly crosses his face.   He
      slowly shakes his head.

<b>                                ROBERTS
</b>                 Cheer up, Stan, we got him.
                 You're a hero.

<b>                               STANLEY
</b>                 Yeah that's me. Hero.

      They walk to the door and out.

<b>                               ROBERTS
</b>                 I was wrong about you, Stanley. I
                 wanted you to know that. You
                 know, you should take your
                 daughter on vacation. Relax a
                 little, you're lucky to be alive.

      Stanley slaps Roberts on the arm and walks out.

<b>                                                     FADE OUT.
</b>

<b>      FADE IN:
</b>
<b>177   INT. CREDIT SUISSE (MONTE CARLO) - DAY                         177
</b>
      A WOMAN who looks surprisingly like Ginger with blonde
      hair and dark shades saunters into the Credit Suisse main
      bank in Monte Carlo.

      She walks up to a desk and sits down in front of a young
      female BANK EXECUTIVE. Both women speak in French with
<b>      SUBTITLES.
</b>
<b>                               WOMAN
</b>                 I would like to transfer money
                 between my employer's accounts.

<b>                               BANK EXECUTIVE
</b>                 Certainly. May I have your
                 employer's account number and
                 password, please?

      The Woman slides a piece of paper across the desk as she
      casually lights a cigarette.

<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                110.
</b>
<b>177   CONTINUED:                                                       177
</b>
<b>                                 BANK EXECUTIVE
</b>                          (looking at the
                           account number,
                           realizing who she is
                           dealing with)
                   Oh, of course. You realize, how
                   should I say, there is a
                   substantial amount of money in
                   that account.

      The sexy Woman smiles.

<b>                                 WOMAN
</b>                   That's why I'm here. My employer
                   doesn't like drawing attention to
                   himself. He likes to keep a low
                   profile.

      The Bank Executive keys in the account numbers.

<b>                                 BANK EXECUTIVE
</b>                   Of course. Would you feel more
                   comfortable dealing with the bank
                   president?

<b>                                 WOMAN
</b>                          (exhaling)
                   Would you?

<b>                                 BANK EXECUTIVE
</b>                   Yes...

<b>                                 WOMAN
</b>                   Get him.

<b>                                 BANK EXECUTIVE
</b>                   Right away. A glass of Cristal
                   while you... Wait a moment...

<b>                                 WOMAN
</b>                   What?

<b>                                 BANK EXECUTIVE
</b>                   There seems to have been a
                   series of large withdrawals out of
                   this account.

<b>                                 WOMAN
</b>                   That's impossible.

      The Woman spins around the terminal.

      The Executive and the Woman look at each other in
      astonishment, then both look back at the screen.

<b>                                                        (CONTINUED)
</b><b>
</b><b>                                                             110A.
</b>
<b>177   CONTINUED:   (2)                                             177
</b>
      The balance now reads $500.00.

      We PUSH INTO A CLOSEUP OF the terminal.   Then THROUGH it.
<b>
</b><b>                                                               111.
</b>
<b>178   TERMINAL                                                        178
</b>
      We PUSH INTO a CLOSEUP of the terminal. Then THROUGH
      it. We SHOOT THROUGH the system of wires and microchips,
      DOWN and THROUGH T1 lines, ACROSS the world at light speed,
      and EXIT the computer world FROM...


<b>179   INT. DINER - SOMEWHERE IN ARIZONA - DAY                         179
</b>
      The screen of Stanley's laptop.

<b>                               HOLLY (O.S.)
</b>                 Everything okay, Dad?

      Stanley, sitting at a booth, looks up from his laptop
      at Holly who was studying a road map of Arizona.

<b>                               STANLEY
</b>                 Everything's fine. Just making the
                 last of some charitable donations..

      Stanley finishes, shuts down laptop.

<b>                               STANLEY
</b>                 How about you, almost done?

<b>                                HOLLY
</b>                         (folding up road
                          map)
                 Yep.   Got it all figured out.

<b>                               STANLEY
</b>                 Well, let's do it.

      They leave table.


<b>      EXT. DINER - SOMEWHERE IN ARIZONA - DAY
</b>
      They exit diner. Make their way to a new SUV with a
      thirty foot tricked out Airstream trailer stretched
      out behind it.

<b>                               STANLEY
</b>                 By the way, where exactly are we
                 going?

<b>                               HOLLY
</b>                 The Petrified Forest.

<b>                               STANLEY
</b>                 The Petrified Forest.

      Stanley opens the driver side door of the SUV.

<b>                                                       (CONTINUED)
</b><b>
</b><b>                                                                 111A.
</b>
<b>179   CONTINUED:                                                     179
</b>
<b>                                  HOLLY
</b>                   Right.   And I'm driving.

      Holly climbs into the vehicle, as if to take the wheel.
      Stanley slides in next to her.

<b>                                 STANLEY
</b>                   Scoot over, you.


<b>      WIDE SHOT
</b>
      WE CRANE UP and AWAY as the vehicle pulls out of the
      desert truck stop...

<b>                                 HOLLY (V.O.)
</b>                   Know why they call it the Petrified
                   Forest?

<b>                                  STANLEY (V.O.)
</b>                   No.   Why?

      ... and drives off down the road.

<b>                                                         FADE TO BLACK.
</b><b>
</b><b>                                                             112.
</b>
<b>      FADE IN:
</b>
<b>180   EXT. CREDIT SUISSE (MONTE CARLO) - DAY                        180
</b>
      A MAN, whom we have not seen before but does maintain a
      certain "Gabriel" air about him, hiding behind shades,
      leans against a three-hundred-year-old column reading a
      newspaper.

      She walks toward him and he signals for the valet.

<b>                               WOMAN FROM BANK
</b>                 You're not fucking gonna believe
                 this. Stanley --

<b>                               MAN
</b>                 -- How much he leave?

<b>                               WOMAN FROM BANK
</b>                 500 bucks.

      He takes the $500 in cash from her hand and hands her the
      paper. They walk down to the dock, where a 50-foot off-
      shore cigarette boat waits, a valet standing next to it.

      He hands the valet the $500. Stepping down into the
      cigarette boat, he grins up at Ginger.

<b>                               GINGER (WOMAN)
</b>                        (steppng in next
                         to him)
                 You don't seem that upset.

<b>                               MAN
</b>                 Did you ever see the Maltese Falcon?

      She looks at him as he CRANKS UP the CIGARETTE and backs
      away from the pier.

<b>                               MAN
</b>                 1941. Nominated for three
                 Academy Awards, lost, but what
                 the fuck does the Academy know
                 anyway. John Houston's first
                 film and probably Bogey's best.

      He turns the BOAT around and POWERS out of the bay.

<b>                               MAN
</b>                 At the end, when they realize the
                 bird's a fake, and all they had
                 gone through and sacrificed was for
                 nothing, Gutman, the bad guy in the
                 movie, says, 'well, sir, what do you
                 think, shall we stand here, shed
                 tears, and call each other names,
                 or shall we go to Istanbul?'
<b>                                                     (CONTINUED)
</b><b>
</b><b>                                                                113.
</b>
<b>180   CONTINUED:                                                       180
</b>
<b>                                  GINGER
</b>                   Istanbul?   What's in Istanbul?

<b>                                 MAN
</b>                   The, ah, stuff dreams are made of.

<b>                                  GINGER
</b>                   Huh?

      They both smile as the CIGARETTE disappears toward the
      horizon.


<b>                                                        FADE OUT.
</b>



<b>                                 THE END
</b><b>
</b></pre><br>
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	<td><h1>Swordfish</h1><br><br>
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Who is Ginger working with?
Who is Ginger working with ?
Gabriel
Gabriel
DEA
DEA