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1.
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1 INT. KIEV APARTMENT - NIGHT 1
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We're in a large closet. JACK KIEFER, an athletic American
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in his late thirties wearing a headset, is wedged into a
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corner, staring at a television screen.
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The television shows a surveillance view of the living room
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that lies outside the confines of the closet. The TV image
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is in black and white. JACK shifts, trying like hell to get
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comfortable but he's been there a while
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ON THE SCREEN
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A bare bulb shines down on the contents of a shabby hotel
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room. Directly under the bulb a man, GENNADY KASIMOV, sits
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in a straight backed wooden chair in his blood-stained T-
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shirt. There are a couple of THUGS and a stray HOOKER in
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the room behind him. A legend: KIEV.
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KASIMOV is sobbing. Uncontrollably. A MAN enters the room,
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ANATOLY, an imperious Russian in his forties, a Russian
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godfather. The THUGS and HOOKERS are ushered out.
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ANATOLY looks down at KASIMOV piteously and urges him to go
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and sit by him in a chair he picks up for him. KASIMOV does
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as he is bid, looking gratefully up at ANATOLY. They speak
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in Russian which is subtitled.
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ANATOLY
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Kasimov, Kasimov, good that you
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called us.
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KASIMOV
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(sobbing)
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I don't remember what happened! We
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were at the bar, drinking, laughing
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-- having fun.
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ANATOLY gets up out of the chair and goes to a bed across
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the room. A WOMAN lies half under the sheets. She's lying
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in an unnatural position on the bed, and the sheets are
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smeared with blood. She's dead. ANATOLY lifts her eyelid.
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KASIMOV
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I don't even know how I got here. I
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swear, Anatoly, I never touched
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her! I didn't lay a finger on her.
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ANATOLY moves away from the WOMAN.
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2.
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ANATOLY
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Kasimov. Don't flounder.
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IN THE CLOSET
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JACK, impatient, checks his watch.
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JACK
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Jesus, she's been under too long.
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Come on, come on!
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ON THE SCREEN
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KASIMOV
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You're the only one who can help
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me.
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Desperately he tugs at ANATOLY'S jacket. But ANATOLY hits
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his hand away and smacks him around the head.
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IN THE CLOSET
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JACK reacts.
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ON THE SCREEN
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ANATOLY bends close to KASIMOV.
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ANATOLY
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C'mon, c'mon, tell the
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truth...c'mon.
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KASIMOV
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They'll kill me.
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ANATOLY paces up the room, away from KASIMOV.
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ANATOLY
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You asked for my help. You asked
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for my help...come on...
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KASIMOV
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You're right, of course.
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IN THE CLOSET
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JACK leans forward.
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JACK
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The name pal...give us the name.
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ON THE SCREEN
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3.
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KASIMOV
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The contact in Minsk..the contact
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in Minsk..works in a travel agency.
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IN THE CLOSET
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JACK
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Come on!
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ON THE SCREEN
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ANATOLY
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Come on!
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KASIMOV
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His name is.....Dimitri Miediev.
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ANATOLY
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Dimitri Miediev...Dimitri
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Miediev...
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IN THE CLOSET
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JACK
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Got him.
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ON THE SCREEN
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Back on screen, ANATOLY places a hand on KASIMOV'S shoulder
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as if he had just anointed him.
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IN THE CLOSET
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In the closet, JACK types the name into a computer and
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cross checks -- "MIEDIEV" comes up, then "posting/American
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consulate/Kiev."
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JACK turns and nods to a WHOREHOUSE WAITRESS in costume in
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the closet next to him, dressed in traditional Russian
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tunic and virtually no bottom. She quickly leaves.
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2 INT. SHABBY ROOM - NIGHT 2
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We enter the room for the first time as the WAITRESS does.
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She's carrying a tray with a bottle of vodka and two shot
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glasses.
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ANATOLY
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Now, we drink.
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He pours them out and hands one to KASIMOV.
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4.
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ANATOLY
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To friends.
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KASIMOV
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Yes, Anatoly, yes.
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JACK
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Cheers.
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He drinks. He blinks. Something felt funny about that.
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Dizzied, KASIMOV swoons and passes out on the floor.
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ANATOLY moves to the closet door and opens it.
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IN THE CLOSET
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ANATOLY reaches up to his face --
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--and tears away a mask of flesh. He's no middle aged
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Russian mobster, he's ETHAN HUNT, an American in his early
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thirties. He gestures to KASIMOV contemptuously. JACK hands
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ETHAN a hypodermic kit and he goes quickly back into the
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room.
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ETHAN
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(in English now)
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Get rid of this scum.
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Immediately, there is activity, and PEOPLE everywhere. TWO
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OTHERS come into the room and carry KASIMOV out.
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ETHAN goes quickly to the body of the dead woman. He cheeks
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the pulse in her neck, shines a penlight in her eye. He
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strips the adrenalin kit and jabs the long needle into the
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dead woman's thigh. He checks her pulse again, checking a
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stopwatch. In about ten seconds, the woman's eyes open.
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CLAIRE is her name, a French woman of thirty or so. She
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half rolls over, GROANS, and wipes some of the blood from
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her mouth.
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CLAIRE
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Did we get it?
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ETHAN
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We got it. On your feet.
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CLAIRE
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I want to sleep. Can I sleep here.
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ETHAN
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Walk, just walk. Start walking.
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CLAIRE
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5.
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I'm walking.
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ETHAN
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Talking's good, walking's better.
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CLAIRE
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Sleeping's better.
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Meanwhile, MEN in overalls take apart the room. The ceiling
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lifts right off the walls, and the walls themselves start
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to come down, revealing the "hotel room" to be an elaborate
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set in the middle of an empty warehouse.
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JACK comes into the room from the closet. He hands CLAIRE
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her jewelry, including a watch and a wedding ring. ETHAN
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stops what he's doing, noticing. She looks up at him
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questioningly.
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CLAIRE
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Are you all right Ethan. What's
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wrong with you?
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ETHAN
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If you're gonna do this again
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Claire, It's not gonna be on my
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watch.
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CLAIRE
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Oh yeah?
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JACK comes into the room from the closet. He hands CLAIRE
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her jewelry, including a watch and a wedding ring. ETHAN
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stops what he's doing, noticing. She looks up at him,
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questioningly.
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JACK
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Claire.
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ETHAN
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Jack.
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She almost unconsciously slips the wedding ring onto her
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finger. ETHAN notices. He turns and SHOUTS to the room at
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large.
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ETHAN
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IS THERE ANY PARTICULAR REASON
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WE'RE NOT
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OUT OF HERE YET?!
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JACK
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Just waiting for you, tubs.
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6.
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He walks across the room and out the door. CLAIRE, worried,
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clutches her hands together, glancing down at her wedding
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ring.
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We move in on it --
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CUT TO:
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3 INT. JET - DAY 3
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-- and come out on another wedding ring, this one on a
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MAN's finger. One of several he's drumming on an arm rest
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in the plush first class cabin of a commercial airliner. He
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shoves some money into his wallet, and as he does so we
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catch a fleeting glimpse of a photograph of CLAIRE.
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The pilot's voice makes an announcement.
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VOICE (O.S.)
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Ladies and gentlemen, we have
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leveled off at our cruising
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altitude of thirty-eight thousand
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feet-and we should be arriving in
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Prague right on schedule.
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A FLIGHT ATTENDANT makes her way between the seats, passing
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out menus.
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FLIGHT ATTENDANT
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Would you like to watch a movie Mr
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Rosen?
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A passenger takes one. The ATTENDANT continues on.
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FLIGHT ATTENDANT
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(CONT'D)
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Would you like to watch a movie Mr
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Phelps?
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The MAN with the wedding ring looks up. JIM PHELPS is in
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his mid-forties, good-looking, intense. He's a tired man,
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and not just now, it's a profound fatigue. He looks up at
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the ATTENDANT and smiles warmly.
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PHELPS
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No, I prefer the theatre.
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A look crosses the FLIGHT ATTENDANT'S face; her tone
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becomes stilted.
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FLIGHT ATTENDANT
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7.
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Would you consider the cinema of
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the Ukraine?
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PHELPS
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Perhaps you'd choose one for me.
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The ATTENDANT turns and walks away. PHELPS sits back,
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shakes a cigarette out of a pack, and taps it nervously on
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the armrest.
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AT THE FRONT OF THE CABIN.
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The FLIGHT ATTENDANT opens a case loaded with video 8
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cassettes of feature films. She opens a panel in the top of
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the case and withdraws a tape hidden back there.
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BACK AT PHELPS'
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SEAT
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The ATTENDANT returns with the tape and hands it to PHELPS.
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He takes it without a word and she moves on.
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PHELPS reaches down and turns a lever on the support
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between his seat and the empty one beside him. He flips up
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a small movie screen and angles it toward himself, away
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from the other passengers. He puts on a headset, opens a
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door in the armrest, and puts the tape in.
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He presses play.
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ON THE TAPE,
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the image of a man comes on. EUGENE KITTRIDGE is fortyish,
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but seems permanently stuck in the Nixon era -- horn rimmed
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glasses, short short haircut, rather be caught dead than
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tieless. But if he catches your eye, he will never, ever
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look away. He's seated at a desk, looking into the camera.
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KITTRIDGE
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(on the tape)
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Good morning, Mr. Phelps. The man
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you're about to see is Aleksander
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Golitsyn --
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The screen winks and shows an image of GOLITSYN, a burly
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man in his forties. The image is herky-jerky videotape,
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presumably taken from a concealed camera as GOLITSYN walks
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down a foreign street.
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KITTRIDGE (O.S.)
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-- a former KGB Line X officer now
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working the international black
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market selling intelligence.
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8.
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This morning, we learned that Golitsyn has stolen one half
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of a CIA NOC list, the list of our non- official cover
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agents working in Eastern Europe.
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The screen shows an image of what such a list might look
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like, code names and other information scrolling by on a
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computer screen at high speed.
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KITTRIDGE (O.S.)
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For security reasons, the NOC list
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is divided into two encoded halves.
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Golitsyn already has the cryptonym
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portion, which contains agent code
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names and targeting areas. This
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portion is useless unless combined
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with the second half -- the true
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name list that is kept in the CIA
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station in our Embassy in Prague.
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The Embassy itself comes on screen, a beautiful old
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building at the base of the Charles Bridge, which spans the
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Vltava River.
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KITTRIDGE (O.S.)
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We believe Golitsyn plans to steal
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the true name list at an Embassy
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function tomorrow night. Your
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mission, should you decide to
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accept it, is to obtain
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photographic proof of the theft,
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apprehend those involved, and
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return the stolen list. I don't
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have to stress the importance of
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this matter, Jim. We're keeping it
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internally black. Because of its
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urgency, I've already sent to
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Prague a team selected from your
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usual group.
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Still photographs come on screen, some of which we're
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already seen -- JACK KIEFER, CLAIRE and ETHAN.
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KITTRIDGE (O.S.)
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Ethan Hunt will of course be your
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point man, as usual. He's in Kiev;
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we're getting word to him now.
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4 INT. JET - DAY 4
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PHELPS sits back in his seat, closes his eyes, and rubs his
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tired brow. KITTRIDGE himself comes back on the tape.
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9.
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KITTRIDGE (O.S.)
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As always, should you or any member
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of your IM force be caught or
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killed, the Secretary will disavow
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all knowledge of your actions. This
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tape will self- destruct in five
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seconds. Good luck, Jim!
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PHELPS inhales deeply --
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-- the tape in the armrest starts to smolder, sending up a
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plume of wispy smoke --
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-- and PHELPS exhales, concealing the plume in a cloud of
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cigarette smoke.
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CUT TO:
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5 EXT. PRAGUE SAFE HOUSE - DAY 5
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SARAH and HANNA, a German woman in her mid-thirties enter.
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Another legend:
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PRAGUE
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6 INT. SAFE HOUSE - PRAGUE - DAY 6
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The IMF team's safe house is a sparsely furnished Prague
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apartment with a panoramic view of the city.
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The IMF team is scattered around the room. Sketches, pads,
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overfilled ashtrays and equipment are strewn everywhere.
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JACK and SARAH seated next to each other - JACK
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demonstrating the VISCO glasses to her. CLAIRE is seated
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opposite JACK at the computer. JIM and ETHAN are in the
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kitchen. HANNAH taking a roll of black-out curtain through
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the room.
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JACK
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Look to your right, then back to
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me. There's a camera built right
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into the bridge. Whatever you see
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it sees and transmits it back here.
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Can you hear me?
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SARAH
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Of course I can hear you.
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JACK
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10.
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No, in your...ear piece. You have a
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lovely smile (eyes). Can you hear
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me now?
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SARAH
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Loud and clear.
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JACK
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What's going on?
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SARAH
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I don't know.
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JACK
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Why don't you take a look?
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SARAH
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Jack...that's spying.
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JACK
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That's what we do isn't it?
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SARAH
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Jack you're so wicked.
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JACK
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Too wicked to have a drink later?
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SARAH
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I think I might just take that
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look.
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ETHAN and JIM PHELPS are in a heated conversation.
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ETHAN
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Yeah, well, Jim, fact is I've got
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more than ninety days leave coming.
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PHELPS
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A hundred and sixty-seven, I think
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it is. Take it all, if you want.
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After this one.
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ETHAN
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I thought I'd take some now.
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PHELPS
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(quietly, to Ethan)
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What the hell's made you decide to
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take your leave at the worst
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possible time? Claire's in a weird
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mood too.
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11.
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ETHAN
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Oh? What's the problem?
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PHELPS
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I don't know, I had to go to
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Chicago again. You were in Kiev.
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You tell me.
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ETHAN
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Tell you what?
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PHELPS
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When you started noticing your
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short term memory loss. What the
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problem was you and Claire had in
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Kiev?
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ETHAN
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What problem?
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PHELPS
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(laughs)
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Ah, God, forget it. What are we
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talking burnout here?
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ETHAN
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I guess.
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PHELPS
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Ethan, you can't burn out.
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ETHAN
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Why not?
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PHELPS
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Because I can't afford it. And
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because you'd burn up before you'd
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burn out.
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CLAIRE, who is at the computer behind them, somehow seems
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to be the reference point in the following exchange:
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ETHAN
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How was Chicago?
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PHELPS
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12.
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Wonderful. Ran into a convention of
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auto dealers at the Drake Hotel.
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You hear the one about the
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astronaut who comes back from the
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first manned flight to Mars after
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two years? His wife's got a year
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old kid. So he says "All right. Who
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was it? My friend Harry?" She says
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no. "Oh, it was my friend Sammy."
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She says it wasn't Sammy.
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"Oh, I suppose it was my friend Lou." "No, what's the
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matter, don't you think I have any friends of my own?!"
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PHELPS laughs. ETHAN doesn't. The back of CLAIRE'S head is
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in his line of sight.
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PHELPS
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Boy, you really are grim. Come
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here, take a look.
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|
He leads ETHAN to the window, which overlooks the city.
|
|
|
|
|
|
7 EXT. PRAGUE - DAY 7
|
|
|
|
ETHAN's POV of Embassy.
|
|
|
|
|
|
8 INT. SAFE HOUSE - DAY 8
|
|
|
|
ETHAN nods.
|
|
|
|
PHELPS
|
|
Beyond Charles Bridge there is our
|
|
Embassy. See it? Tomorrow night, if
|
|
anything goes wrong, this guy will
|
|
steal the names of our agents in
|
|
every country all over Eastern
|
|
Europe. Up for grabs to the highest
|
|
bidders -- third world terrorists,
|
|
arms dealers, drug lords -- any and
|
|
everybody who'd love to get rid of
|
|
long term coverts like us, and some
|
|
very dear friends among them. If
|
|
they're exposed, they'll be
|
|
executed. Come over here. Take a
|
|
lock at this.
|
|
|
|
CLAIRE, who is working at a computer, has pulled up a
|
|
quicktime video image in a box on her screen. In it, an old
|
|
edition of the McLaughlin Report, the PBS news show, is
|
|
playing.
|
|
13.
|
|
|
|
|
|
ETHAN is distracted by it.
|
|
|
|
INSERT - TELEVISION
|
|
|
|
SENATOR WALTZER, a bearded, bespectacled man in his
|
|
forties, is holding forth:
|
|
|
|
SENATOR WALTZER
|
|
I'll go you one further. I say the
|
|
CIA and all its shadow
|
|
organizations have become
|
|
irrelevant at best and
|
|
unconstitutional at worst. It's
|
|
time we throw a little light on the
|
|
whole concept of the Pentagon's
|
|
"black budget." These covert agency
|
|
subgroups have confidential
|
|
funding, they report to no one --
|
|
who are these people?! We were
|
|
living in a democracy the last time
|
|
I checked.
|
|
|
|
BACK TO SCENE
|
|
|
|
ETHAN looks back at JIM.
|
|
|
|
ETHAN
|
|
You're going to use Walter?
|
|
|
|
PHELPS
|
|
He's our guy.
|
|
|
|
ETHAN
|
|
Isn't he chairing the Armed
|
|
Services hearing?
|
|
|
|
PHELPS
|
|
Not this week. This week he's
|
|
flyfishing at the Oughterard Slough
|
|
in County Kildare, with one of our
|
|
best Irish guides.
|
|
|
|
ETHAN
|
|
He won't be back in a hurry?
|
|
|
|
PHELPS
|
|
No, not in a hurry. What do you
|
|
think? You think the plot'll work?
|
|
|
|
ETHAN
|
|
Sure. If the main character does.
|
|
|
|
PHELPS
|
|
14.
|
|
|
|
|
|
If you were me, Ethan, who would
|
|
you trust to make him believable?
|
|
|
|
JACK comes breezing in with a piece of bubble gum.
|
|
|
|
JACK
|
|
Sorry, am I interrupting?
|
|
|
|
ETHAN
|
|
Always.
|
|
|
|
JACK shows the gum to ETHAN.
|
|
|
|
JACK
|
|
Stick of gum. If you come up
|
|
against a lock you can't pick --
|
|
|
|
Half the gum is red, the other half is green.
|
|
|
|
JACK
|
|
Red light. Green light. Mash them
|
|
together, asta lasagna. Don't get
|
|
any on you -- you have five
|
|
seconds.
|
|
|
|
He offers the gum to ETHAN.
|
|
|
|
PHELPS
|
|
Are you gonna take it?
|
|
|
|
CLAIRE glances up from the computer and catches ETHAN's
|
|
eye. PHELPS may have caught the glance, but is focused on
|
|
ETHAN.
|
|
|
|
ETHAN
|
|
(relenting)
|
|
Give me the God damn gum.
|
|
|
|
JACK
|
|
Just don't chew it.
|
|
|
|
PHELPS
|
|
Thank you.
|
|
|
|
CUT TO:
|
|
|
|
|
|
9 EXT. AMERICAN EMBASSY - NIGHT 9
|
|
|
|
The American Embassy glitters beside the Vltava River.
|
|
Party at the Embassy tonight.
|
|
15.
|
|
|
|
|
|
10 INT. AN ELEVATOR SHAFT - NIGHT 10
|
|
|
|
JACK, wearing black coveralls and slightly odd-looking
|
|
eyeglasses (they're called Visco glasses), enters an
|
|
elevator shaft through a small door at the base of the
|
|
wall. He looks up the shaft, shining a flashlight until he
|
|
finds what he's looking for --
|
|
|
|
-- a gray metal box, protruding from the wall one floor up.
|
|
|
|
|
|
11 INT. SAFE HOUSE - NIGHT 11
|
|
|
|
PHELPS is at a table in the safe house apartment, watching
|
|
the bank of monitors HANNAH wired together earlier. The
|
|
monitors are alive now, showing various views of the inside
|
|
of the Embassy, where the party is going on, and one view
|
|
of the elevator shaft.
|
|
|
|
PHELPS wearing an IMF headset and speaks into the
|
|
mouthpiece.
|
|
|
|
PHELPS
|
|
Ethan. Jack's inside. Window's open
|
|
by twenty-three hundred.
|
|
|
|
|
|
12 INT. EMBASSY - NIGHT 12
|
|
|
|
Inside the Embassy, the party is a formal, tuxedoed affair
|
|
that's in full swing on the second floor.
|
|
|
|
SENATOR WALTZER, the man who was on TV, walks up a grand
|
|
staircase, headed in. An AMERICAN DIPLOMAT in a tuxedo
|
|
hurries up to him.
|
|
|
|
DIPLOMAT
|
|
How do you do, Senator, I'm Rand
|
|
Housman, the Ambassador's aide. If
|
|
I could just steer you through the
|
|
reception line here
|
|
|
|
--
|
|
The DIPLOMAT pilots the SENATOR by
|
|
one arm, guiding him to a reception
|
|
line at the base of the stairs to
|
|
the party.
|
|
|
|
DIPLOMAT
|
|
Allow me to introduce Jaroslav
|
|
Reid, the director of the National
|
|
Gallery -- Petr Brandl, the mayor
|
|
of Prague --
|
|
16.
|
|
|
|
|
|
SARAH, a very attractive young American dressed in an
|
|
elegant gown, steps out of the reception line and shakes
|
|
hands with
|
|
|
|
WALTZER.
|
|
|
|
SARAH
|
|
I bet you don't remember me, do
|
|
you, Senator?
|
|
|
|
SENATOR WALTZER
|
|
Of course I do. How are you, Miss
|
|
Norman?
|
|
|
|
He leans in and kisses her on the cheek, and as he does so
|
|
SARAH whispers something in his ear.
|
|
|
|
SARAH
|
|
He's in pocket. Under the archway
|
|
behind me.
|
|
|
|
Her tone, her words -- we realize she's on the team.
|
|
|
|
The SENATOR pulls a pair of Visco glasses from his pocket
|
|
(and if we didn't know the SENATOR was ETHAN before, this
|
|
confirms it), puts them on, and looks up, over her
|
|
shoulder.
|
|
|
|
UNDER AN ARCHWAY NEAR THE ENTRANCE,
|
|
|
|
ALEKSANDER GOLITSYN, the Ukrainian, has just come in from
|
|
outside.
|
|
|
|
|
|
13 INT. SAFE HOUSE - NIGHT 13
|
|
|
|
PHELPS sees the SENATOR's point of view of GOLITSYN,
|
|
through the glasses, broadcast back to PHELPS' monitor. He
|
|
speaks into his microphone.
|
|
|
|
PHELPS
|
|
Sarah, mark the package and go to
|
|
two.
|
|
|
|
|
|
14 INT. EMBASSY PARTY - NIGHT 14
|
|
|
|
SARAH still has the SENATOR's attention.
|
|
|
|
SARAH
|
|
17.
|
|
|
|
|
|
Your advance team mentioned you'd
|
|
want a tour of the facility, so
|
|
I've gone ahead and set that up for
|
|
you --
|
|
|
|
SENATOR WALTZER
|
|
Terrific. Let's get going.
|
|
(to the Diplomat)
|
|
Will you excuse us?
|
|
|
|
He slips an arm around SARAH and they walk off, not into
|
|
the party, but the other way, toward a staircase that leads
|
|
further into the Embassy.
|
|
|
|
DIPLOMAT
|
|
Uh, sir?
|
|
|
|
|
|
15 INT. ELEVATOR SHAFT - NIGHT 15
|
|
|
|
JACK climbs up the elevator shaft, towards the gray metal
|
|
box. He just begins to remove the cover when he hears a
|
|
noise from above. He looks up and sees the elevator above
|
|
him descending.
|
|
|
|
JACK quickly pulls himself flush against the wall. The
|
|
elevator comes down adjacent to him and stops, pinning him
|
|
to the wall.
|
|
|
|
JACK
|
|
Great. Come on.
|
|
|
|
|
|
16 INT. EMBASSY PARTY - NIGHT 16
|
|
|
|
As the SENATOR and SARAH pass behind the entering GOLITSYN,
|
|
SARAH pulls a small bottle of perfume from her purse. But
|
|
as she sprays, she points it slightly to the left, missing
|
|
herself and hitting the back of GOLITSYN'S head. He never
|
|
notices. They move on and down the flight of stairs.
|
|
|
|
|
|
17 INT. SAFE HOUSE - NIGHT 17
|
|
|
|
JIM PHELPS monitors the Visco views of the party. He looks
|
|
to the fourth monitor and checks a view of the party, a
|
|
jumpy one, as someone hurrying up stairs.
|
|
|
|
PHELPS
|
|
Hannah. He's marked. Lets go.
|
|
|
|
|
|
18 INT. EMBASSY PARTY - NIGHT 18
|
|
18.
|
|
|
|
|
|
On a flight of stairs, HANNAH, dressed for the party and
|
|
slightly out of breath, hurries up the stairs.
|
|
|
|
HANNAH
|
|
En route.
|
|
|
|
She also has a pair of Visco glasses, which she trains on
|
|
the party below. She pushes a micro switch on the side of
|
|
her glasses, activating an electronic filter, which tints
|
|
the lenses.
|
|
|
|
PHELPS (O/S)
|
|
Hannah, pull the shade (or - Hannah
|
|
go to night vision).
|
|
|
|
HANNAH'S VISCO POV
|
|
|
|
the party looks the same, but one head in the crowd stands
|
|
out. That head is GOLITSYN'S, his hair a fluorescent green
|
|
where SARAH sprayed it.
|
|
|
|
|
|
19 INT. THE DENIED AREA/ELEVATOR BANK - NIGHT 19
|
|
|
|
The SENATOR (let's just call him ETHAN) and SARAH come down
|
|
the stairs and pass a sign that says "Denied Area --
|
|
Political Attaches Only." ETHAN checks his watch. 23:00.
|
|
|
|
He nods to SARAH, they round a corner, and come to an
|
|
elevator at the end of the corridor. A sign in front of it
|
|
says "Out of Order." They head for it anyway.
|
|
|
|
A MARINE GUARD appears from behind a side door, catching
|
|
them by surprise.
|
|
|
|
JACK
|
|
Governor's in position. We have the
|
|
elevator.
|
|
|
|
GUARD
|
|
Excuse me, can I help you?
|
|
|
|
SARAH
|
|
-- which leads directly to the
|
|
Denied Area, the only limited
|
|
access area in the whole facility.
|
|
|
|
SARAH flashes an ID at the GUARD and keeps talking.
|
|
|
|
SARAH
|
|
19.
|
|
|
|
|
|
As you can see. this area has both
|
|
a Marine guard and video
|
|
surveillance, and is strictly
|
|
monitored at all times.
|
|
|
|
She walks up to the thumbprint analyzer on the elevator
|
|
bank and slides her thumb inside. The panel lights up and
|
|
flashes a message -- "ACCESS DENIED." SARAH and ETHAN trade
|
|
a look.
|
|
|
|
SARAH
|
|
(covering)
|
|
Senator, don't you have a young man
|
|
on your staff named JACK?
|
|
|
|
She tries the thumb again, Still no soap.
|
|
|
|
ETHAN
|
|
Jack? I believe we did have a young
|
|
man named Jack. Not a reliable man,
|
|
as I recall. Constantly late or
|
|
behind in his work.
|
|
|
|
Now the GUARD, noticing that Sarah's not being allowed
|
|
access, comes closer to them.
|
|
|
|
GUARD
|
|
Excuse me, let me see that ID
|
|
again!
|
|
|
|
|
|
20 INT. ELEVATOR SHAFT - NIGHT 20
|
|
|
|
JACK is still pinned to the wall by the elevator, listening
|
|
to their conversation.
|
|
|
|
PHELPS (O.S.)
|
|
Jack's pinned down Sarah. Should be
|
|
a second. Keep dancing.
|
|
|
|
ETHAN (O.S.)
|
|
(with the Senator's
|
|
southern accent)
|
|
We were forced to tie him to my
|
|
best stallion and drag him around
|
|
the barn a few times.
|
|
|
|
Finally, the elevator moves down a floor and JACK is freed.
|
|
|
|
JACK
|
|
Relax your crack, Foghorn, I'm
|
|
workin' on it.
|
|
20.
|
|
|
|
|
|
He quickly opens the gray metal box, revealing a maze of
|
|
circuitry. He patches in his computer, climbs on top of the
|
|
elevator, and hits the keyboard, beginning to download.
|
|
|
|
THE LAPTOP
|
|
there's a split-screen of SARAH's
|
|
thumbprint and the ID picture. JACK
|
|
downloads her file into the
|
|
security computer.
|
|
|
|
|
|
21 INT. THE DENIED AREA - ELEVATOR BANK - NIGHT 21
|
|
|
|
Ignoring the GUARD, SARAH turns and slides her thumb into
|
|
the thumbprint analyzer once more. The panel glows, this
|
|
time the message flashes --
|
|
|
|
IDENTITY CONFIRMED
|
|
-- and the elevator doors slide
|
|
open briskly.
|
|
|
|
The GUARD, surprised, now catches sight of the SENATOR.
|
|
|
|
GUARD
|
|
Oh. Sorry, sir.
|
|
|
|
He snaps a salute. ETHAN and SARAH get into the elevator
|
|
and the doors close behind them.
|
|
|
|
|
|
22 INT. ELEVATOR SHAFT - NIGHT 22
|
|
|
|
JACK looks down at the elevator below. Through a grating,
|
|
he can see them inside.
|
|
|
|
JACK
|
|
The drink (date) with Sarah is
|
|
definitely off.
|
|
|
|
|
|
23 INT. SAFE HOUSE - NIGHT 23
|
|
|
|
PHELPS moves from JACK's view of the elevator car to
|
|
HANNAH's view of the party on his video monitors.
|
|
|
|
PHELPS
|
|
(a touch of impatience)
|
|
Hannah -- I'm blind again. Hannah.
|
|
|
|
|
|
24 INT. EMBASSY PARTY - NIGHT 24
|
|
21.
|
|
|
|
|
|
HANNAH, stationed on the second floor of the Embassy, moves
|
|
to get a better view of the party. She reacquires
|
|
GOLITSYN's glowing head.
|
|
|
|
HANNAH
|
|
He's heading to the denied area.
|
|
|
|
|
|
25 INT. EMBASSY WORK ROOM - NIGHT 25
|
|
|
|
This work room is filled with combination lock filing
|
|
cabinets and various computer terminals. ETHAN hands SARAH
|
|
his Visco glasses and she crosses the room, placing them
|
|
upside down on top of a filing cabinet.
|
|
|
|
ETHAN straps on a Visco wrist monitor and tunes it in,
|
|
switching several times.
|
|
|
|
ETHAN
|
|
(to Sarah)
|
|
Higher. Higher.
|
|
|
|
SARAH
|
|
Higher.
|
|
|
|
ETHAN
|
|
Right, right. Good.
|
|
|
|
SARAH adjusts the glasses.
|
|
|
|
THROUGH THE GLASSES,
|
|
|
|
the view of the main computer terminal is upside down, but
|
|
clear. Anyone sitting there will be recorded.
|
|
|
|
|
|
26 INT. SAFE HOUSE - NIGHT 26
|
|
|
|
On PHELPS' monitor, we see ETHAN, via his Visco glasses on
|
|
the filing cabinet, standing next to the computer. PHELPS
|
|
barks out a warning.
|
|
|
|
PHELPS
|
|
Get moving, Ethan. He's rolling to
|
|
you.
|
|
|
|
|
|
27 INT. EMBASSY WORK ROOM - NIGHT 27
|
|
|
|
ETHAN pushes the elevator button but the elevator is
|
|
already moving up.
|
|
|
|
ETHAN
|
|
22.
|
|
|
|
|
|
Jack we're in position.
|
|
|
|
|
|
28 INT. ELEVATOR SHAFT - WORK ROOM - NIGHT 28
|
|
|
|
In a split view, we see both sides of the elevator wall
|
|
simultaneously -- on one side, JACK is lying on top of the
|
|
rising elevator, on the other side, ETHAN and SARAH are
|
|
waiting for it to arrive.
|
|
|
|
ETHAN
|
|
Jack. Jack.
|
|
|
|
JACK
|
|
I didn't touch it.
|
|
|
|
The elevator stops, the doors open --
|
|
|
|
-- and GOLITSYN gets on. GOLITSYN descends in the elevator
|
|
with JACK on top and ETHAN and SARAH waiting down below!
|
|
|
|
|
|
29 INT. SAFE HOUSE - NIGHT 29
|
|
|
|
PHELPS sees JACK's point of view of the elevator, with
|
|
GOLITSYN inside.
|
|
|
|
PHELPS
|
|
(tension rising)
|
|
He's in the box, Ethan, he's in the
|
|
box!
|
|
|
|
|
|
30 INT. EMBASSY WORK ROOM - NIGHT 30
|
|
|
|
ETHAN and SARAH are waiting in front of the elevator, the
|
|
one GOLITSYN is about to step off of! ETHAN looks around,
|
|
for a place to hide.
|
|
|
|
ETHAN
|
|
OK. Taking Golitsyn's exit. Jack,
|
|
open the doors.
|
|
|
|
SARAH
|
|
What about my coat? I'll freeze.
|
|
|
|
JACK (O.S.)
|
|
I don't have it.
|
|
|
|
|
|
31 INT. SAFE HOUSE - NIGHT 31
|
|
|
|
PHELPS whips over to a laptop and starts typing.
|
|
23.
|
|
|
|
|
|
PHELPS
|
|
Opening the doors. Go under.
|
|
|
|
He jabs ENTER on his keyboard.
|
|
|
|
|
|
32 INT. EMBASSY WORK ROOM - NIGHT 32
|
|
|
|
The elevator doors WHISK open, revealing the empty shaft
|
|
beyond. ETHAN and SARAH jump into the shaft.
|
|
|
|
|
|
33 INT. ELEVATOR SHAFT - NIGHT 33
|
|
|
|
ETHAN and SARAH jump down into the five foot empty space
|
|
below the work room floor. Above them, the elevator
|
|
continues its descent, with them hiding below. The elevator
|
|
drops to just over their heads and stops.
|
|
|
|
|
|
34 INT. EMBASSY WORK ROOM - NIGHT 34
|
|
|
|
GOLITSYN steps off the elevator, crosses the room and
|
|
slides a 3.5 computer disk into the computer in the work
|
|
room. Through the Visco glasses, we can clearly see him at
|
|
work, downloading the vital information.
|
|
|
|
|
|
35 INT. ELEVATOR SHAFT - BELOW ELEVATOR - NIGHT 35
|
|
|
|
Waiting below the elevator, ETHAN takes off his jacket,
|
|
starting to reverse it. He checks his Visco wrist monitor
|
|
as GOLITSYN perpetrates the theft. He smiles and speaks
|
|
into a microphone.
|
|
|
|
ETHAN
|
|
He's got it. Saved your ass again
|
|
Jack.
|
|
|
|
JACK (O.S.)
|
|
Give me a break, Pops.
|
|
|
|
SARAH
|
|
Such a nice ass.
|
|
|
|
JACK (O.S.)
|
|
And a lonely ass.
|
|
|
|
ETHAN
|
|
Sarah's reconsidering. Claire,
|
|
transport in five minutes.
|
|
|
|
CLAIRE (O.S.)
|
|
24.
|
|
|
|
|
|
Roger that.
|
|
|
|
|
|
36 INT. ELEVATOR SHAFT - BELOW ELEVATOR - NIGHT 36
|
|
|
|
Back inside, ETHAN strips off his mask and wearing his now
|
|
reversed jacket, he and SARAH exit the small door at the
|
|
base of the elevator shaft.
|
|
|
|
|
|
37 EXT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 37
|
|
|
|
JACK rapidly disconnects his equipment. But as he pulls the
|
|
final electrical clip from the elevator's wiring, it
|
|
flashes and SPARKS.
|
|
|
|
|
|
38 EXT. EMBASSY - NIGHT 38
|
|
|
|
ETHAN and SARAH exit an Embassy service area by the
|
|
waterfront and blend into the Embassy crowd, as an amorous
|
|
couple.
|
|
|
|
ETHAN
|
|
In position. Jack open the door,
|
|
let the package roll.
|
|
|
|
JACK (O.S.)
|
|
Roger that. Opening doors now.
|
|
|
|
ETHAN
|
|
Stairway, you're wrapped, go to
|
|
transport.
|
|
|
|
ETHAN'S voice comes over HANNAH'S earpiece.
|
|
|
|
HANNAH
|
|
En route.
|
|
|
|
HANNAH breaks off and goes up the stairs.
|
|
|
|
|
|
39 INT. ELEVATOR - NIGHT 39
|
|
|
|
The button marked "ROOF" lights up, seemingly all by
|
|
itself.
|
|
|
|
|
|
40 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 40
|
|
|
|
The car engages with a sharp jolt --
|
|
25.
|
|
|
|
|
|
JACK
|
|
Hey.
|
|
|
|
--and starts to rise. JACK looks down, into the elevator
|
|
car, through the grate. There's no one in it.
|
|
|
|
|
|
41 INT. SAFE HOUSE - NIGHT 41
|
|
|
|
On one of his monitors, PHELPS sees the elevator moving in
|
|
the shaft.
|
|
|
|
PHELPS
|
|
Jack, what are you doing?!
|
|
|
|
|
|
42 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 42
|
|
|
|
JACK
|
|
I'm not doing anything! (I don't
|
|
have it either).
|
|
|
|
|
|
43 INT. SAFE HOUSE - NIGHT 43
|
|
|
|
PHELPS is typing at his keyboard and jamming the enter
|
|
button but gets no response.
|
|
|
|
PHELPS
|
|
I don't have it -- I don't have
|
|
control!
|
|
|
|
|
|
44 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 44
|
|
|
|
JACK'S face pales. He looks up, above him, at the
|
|
approaching ceiling.
|
|
|
|
JACK
|
|
Uh -- then I have a problem.
|
|
|
|
|
|
45 INT. EMBASSY WORK ROOM - NIGHT 45
|
|
|
|
GOLITSYN pulls out the now-programmed disk from the
|
|
computer, slips it in his jacket pocket and heads for the
|
|
door.
|
|
|
|
|
|
46 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 46
|
|
|
|
JACK looks up through his Visco glasses at the approaching
|
|
roof, covered with spikes.
|
|
26.
|
|
|
|
|
|
47 EXT. EMBASSY - NIGHT 47
|
|
|
|
Through the monitor, ETHAN sees JACK'S P.O.V. of the roof
|
|
of the building approaching. Fast.
|
|
|
|
ETHAN
|
|
Cut the power. Cut the power Jack.
|
|
Do you hear me.
|
|
|
|
|
|
48 INT. ELEVATOR SHAFT - ABOVE ELEVATOR - NIGHT 48
|
|
|
|
On top of the elevator, JACK has ripped open the control
|
|
panel again and is frantically trying to adjust wires to
|
|
get the thing to stop.
|
|
|
|
He swears, his fingers fumble, he works faster and faster.
|
|
He looks up. The roof of the building is nearly upon him.
|
|
|
|
ETHAN (O.S.)
|
|
Come on, Jack, come on.
|
|
|
|
JACK looks up again, he cringes, he covers his head with
|
|
his hands, he SCREAMS --
|
|
|
|
--and he's crushed to death against the roof.
|
|
|
|
|
|
49 EXT. EMBASSY - NIGHT 49
|
|
|
|
ETHAN is staring at the static on the monitor that once was
|
|
JACK'S signal.
|
|
|
|
ETHAN
|
|
Jack. Jack.
|
|
|
|
He closes his eyes, knowing what that means.
|
|
|
|
|
|
50 INT. SAFE HOUSE - NIGHT 50
|
|
|
|
PHELPS also sees the static.
|
|
|
|
PHELPS
|
|
Man down. Stay where you are. I'm
|
|
on my way.
|
|
|
|
He gets up and races out of the apartment.
|
|
|
|
|
|
51 INT. EMBASSY WORK ROOM - NIGHT 51
|
|
27.
|
|
|
|
|
|
GOLITSYN, who now has the disk, jabs again and again at the
|
|
elevator button but it won't even light up. He studies the
|
|
elevator doors and jumps into the shaft, just as ETHAN and
|
|
SARAH did moments before.
|
|
|
|
He hits the floor of the elevator shaft and exits the small
|
|
door at the shaft's base.
|
|
|
|
|
|
52 EXT. PRAGUE SAFE HOUSE - NIGHT 52
|
|
|
|
PHELPS hurries towards the bridge.
|
|
|
|
PHELPS
|
|
En route.
|
|
|
|
|
|
53 EXT. CHARLES BRIDGE - NIGHT 53
|
|
|
|
PHELPS dashes onto the Charles Bridge and heads across the
|
|
river, toward the Embassy. He throws a look back, over his
|
|
shoulder. Paranoia's setting in.
|
|
|
|
|
|
54 EXT. EMBASSY - AS SEEN FROM CHARLES BRIDGE - NIGHT 54
|
|
|
|
Outside the Embassy, GOLITSYN escapes, pushing through the
|
|
service area door and racing past a DRUNKEN COUPLE who are
|
|
in the midst of a lover's quarrel, in Russian.
|
|
|
|
Pan past the embankment and onto the bridge where PHELPS is
|
|
still racing to meet ETHAN. But he stops suddenly, as if
|
|
hearing something and looks behind him, at the deepening
|
|
gloom.
|
|
|
|
|
|
55 EXT. EMBASSY - NIGHT 55
|
|
|
|
ETHAN and SARAH hear PHELP'S voice over the monitor.
|
|
|
|
SARAH
|
|
The package is in the open.
|
|
|
|
ETHAN
|
|
Jim. Jim. He's in the open.
|
|
|
|
PHELPS (O.S.)
|
|
I've got a shadow.
|
|
|
|
ETHAN
|
|
Can you lose him?
|
|
|
|
PHELPS (O.S.)
|
|
28.
|
|
|
|
|
|
No. Abort.
|
|
|
|
Over ETHAN's shoulder, SARAH sees GOLITSYN getting away.
|
|
Fog starts to roll over the river towards the bridge.
|
|
|
|
SARAH
|
|
Ethan. He's out of pocket.
|
|
|
|
ETHAN
|
|
(to Phelps)
|
|
Jim we can't.
|
|
|
|
PHELPS (O.S.)
|
|
Abort. That's an order.
|
|
|
|
ETHAN
|
|
Negative, Golitsyn's on the move.
|
|
|
|
|
|
56 INT. GETAWAY CAR - NIGHT 56
|
|
|
|
Seated in the getaway car, CLAIRE listens to JIM and ETHAN
|
|
argue.
|
|
|
|
PHELPS (O.S.)
|
|
No, damn it, no, I said ABORT!
|
|
|
|
|
|
57 EXT. EMBASSY - NIGHT 57
|
|
|
|
Outside the Embassy, SARAH and ETHAN argue.
|
|
|
|
ETHAN
|
|
Sarah eye on the package. Jim, I'm
|
|
coming to you.
|
|
|
|
SARAH
|
|
Jim gave an abort, we should walk
|
|
away.
|
|
|
|
ETHAN
|
|
No, we're going to recover the
|
|
disk, understand?! Now move!
|
|
|
|
ETHAN takes off for the bridge, leaving SARAH to shadow
|
|
|
|
GOLITSYN.
|
|
|
|
|
|
58 EXT. PARKING AREA - NIGHT 58
|
|
|
|
HANNAH hurries toward the getaway vehicle.
|
|
29.
|
|
|
|
|
|
59 EXT. RESIDENTIAL STREET - NIGHT 59
|
|
|
|
ETHAN moves to the bridge stairs.
|
|
|
|
PHELPS (O.S.)
|
|
Where are you?
|
|
|
|
ETHAN
|
|
About two hundred yards from the
|
|
bridge.
|
|
|
|
PHELPS (O.S.)
|
|
They're covering this frequency,
|
|
Ethan. Cut all radio
|
|
communications. Repeat. Cut all
|
|
radio communications.
|
|
|
|
ETHAN continues to run toward the stairs to the bridge.
|
|
Past CLAIRE who sits in the getaway car. He looks on his
|
|
monitor and again sees PHELPS' POV. Only ominous silence.
|
|
Phelps is looking back over his shoulder. The bridge is
|
|
deserted.
|
|
|
|
|
|
60 EXT. EMBANKMENT - NIGHT 60
|
|
|
|
SARAH follows GOLITSYN as he hurries toward the shore,
|
|
where a cobblestone promenade runs along the river. He
|
|
disappears into the fog at the edge of the river.
|
|
|
|
|
|
61 EXT. STAIRS TO BRIDGE - NIGHT 61
|
|
|
|
ETHAN checks his monitor again.
|
|
|
|
THE MONITOR
|
|
PHELPS' point of view changes
|
|
radically as his head swivels on
|
|
the darkened bridge. He whirls
|
|
again, looking over his shoulder
|
|
and this time the barrel of a gun
|
|
is visible, pointing at him and
|
|
before PHELPS has a chance to react
|
|
a GUNSHOT CRACKLES over the
|
|
monitor.
|
|
|
|
The point of view goes crazy for a moment, then over and
|
|
down to a bloody hole in his own chest.
|
|
|
|
His head rocks again, then goes over the side of the bridge
|
|
and makes the long, hard fall into the river below.
|
|
30.
|
|
|
|
|
|
62 EXT. STAIRS TO BRIDGE - NIGHT 62
|
|
|
|
ETHAN's face goes white with shock.
|
|
|
|
ETHAN
|
|
JIM!
|
|
|
|
|
|
63 EXT. CHARLES BRIDGE - NIGHT 63
|
|
|
|
He races up the rest of the stairs to the bridge but
|
|
there's no sign of PHELPS.
|
|
|
|
ETHAN runs to the railing and looks down into the river but
|
|
sees only dark, choppy waters below, now becoming obscured
|
|
in the gathering fog.
|
|
|
|
He turns and looks to the embankment. He can faintly see
|
|
GOLITSYN, hurrying along the promenade. ETHAN gives chase.
|
|
|
|
|
|
64 EXT. PARKING AREA - NIGHT 64
|
|
|
|
ETHAN runs towards the getaway car, reaching a vantage
|
|
point on the top of the stairs, he can see CLAIRE'S
|
|
outline, visible in the driver's seat. But as he descends
|
|
the stairs
|
|
|
|
--
|
|
--the car explodes and bursts into
|
|
flames.
|
|
|
|
The force of the blast knocks ETHAN back.
|
|
|
|
ETHAN
|
|
CLAIRE!
|
|
|
|
He watches the burning car in stunned silence for a moment,
|
|
a stunned CROWD starts to gather.
|
|
|
|
Remembering SARAH, he rushes down the stairs towards the
|
|
embankment.
|
|
|
|
|
|
65 EXT. EMBANKMENT - NIGHT 65
|
|
|
|
SARAH comes out of the fog near the riverbank and sees
|
|
GOLITSYN again, slowing down. A MAN comes out of the fog an
|
|
seems to ask GOLITSYN for a light.
|
|
|
|
SARAH draws closer. Behind her, the DRUNKEN COUPLE seems to
|
|
be hanging with her for some reason.
|
|
31.
|
|
|
|
|
|
66 EXT. STAIRS FROM BRIDGE - NIGHT 66
|
|
|
|
ETHAN continues towards the embankment.
|
|
|
|
|
|
67 EXT. EMBANKMENT - NIGHT 67
|
|
|
|
SARAH is almost to GOLITSYN. Suddenly, the MAN in front of
|
|
GOLITSYN pulls him towards him. Sensing something wrong,
|
|
SARAH quickens her pace. The MAN is now hunched over
|
|
GOLITSYN, facing away from SARAH, going through GOLITSYN's
|
|
pockets.
|
|
|
|
The figure finds what it's looking for -- the disk -- and
|
|
takes it. SARAH comes closer --
|
|
|
|
-- and the figure whirls. It brings a knife up sharply,
|
|
plunges it into her chest and slinks away out of sight.
|
|
|
|
ANGLE
|
|
ETHAN races around the corner onto
|
|
the embankment. He bursts out of
|
|
the fog, just in time to see SARAH
|
|
fall to her knees, over GOLITSYN's
|
|
body. ETHAN sees the knife in her
|
|
chest and
|
|
|
|
GASPS.
|
|
|
|
He pulls the knife out of SARAH, who is close to death. He
|
|
looks at it -- it is a black Teflon knife with a serrated
|
|
edge.
|
|
|
|
BEHIND ETHAN
|
|
The DRUNKEN COUPLE seem drunk no
|
|
more. In fact, they're watching
|
|
ETHAN. Through the fog and night,
|
|
they see him leaning over SARAH,
|
|
holding the knife in his hands.
|
|
|
|
AT THE BODIES
|
|
|
|
SARAH goes still. ETHAN lays her down, turns the other body
|
|
over and sees that it is GOLITSYN. He quickly begins
|
|
rummaging through his pockets.
|
|
|
|
ETHAN hear police sirens and sees...
|
|
|
|
ANGLE
|
|
A Prague police boat, SIREN
|
|
wailing, arrives at the dock in
|
|
front of the Embassy. The DRUNKEN
|
|
MAN and WOMAN stop suddenly.
|
|
32.
|
|
|
|
|
|
As THREE POLICE leap off the boat and race toward the
|
|
explosion, ETHAN leaps over the gate and races up the alley
|
|
and out of sight.
|
|
|
|
|
|
68 EXT. STREET - PHONE BOOTH - NIGHT 68
|
|
|
|
ETHAN unscrews the mouthpiece of a payphone receiver. He's
|
|
holding a flat piece of metal with six prongs on it, a
|
|
modernist cockroach. He CLICKS the cockroach into the guts
|
|
of the phone's wiring, piercing it with its little prongs.
|
|
|
|
He screws the mouthpiece back on, holds the phone's tongue
|
|
down for a second, releases it and listens. He has a dial
|
|
tone. Now he punches in a fourteen digit number he knows by
|
|
heart.
|
|
|
|
After a moment, a FLAT VOICE comes on the other side.
|
|
|
|
FLAT VOICE (O.S.)
|
|
Satcom seven.
|
|
|
|
ETHAN
|
|
Central Europe. Unsecured.
|
|
|
|
FLAT VOICE (O.S.)
|
|
Designator?
|
|
|
|
ETHAN
|
|
Bravo Echo one one.
|
|
|
|
FLAT VOICE (O.S.)
|
|
Switching.
|
|
|
|
There is a long pause and then familiar voice comes on the
|
|
line.
|
|
|
|
KITTRIDGE (O.S.)
|
|
This is Kittridge.
|
|
|
|
ETHAN
|
|
Go secure.
|
|
|
|
Pause. A funny series of CLICKS comes over the line.
|
|
|
|
KITTRIDGE (O.S.)
|
|
Go ahead.
|
|
|
|
ETHAN
|
|
They're dead.
|
|
|
|
KITTRIDGE (O.S.)
|
|
Who's dead?
|
|
33.
|
|
|
|
|
|
ETHAN
|
|
My team. Claire, Jack, even Jim - -
|
|
Hannah, maybe, I -- don't know
|
|
|
|
KITTRIDGE (O.S.)
|
|
Are you damaged?
|
|
|
|
ETHAN
|
|
They knew we were coming.
|
|
Golitsyn's dead too. The disk is
|
|
gone.
|
|
|
|
KITTRIDGE (O.S.)
|
|
Are you intact?
|
|
|
|
ETHAN
|
|
Do you read me? The list is in the
|
|
open!
|
|
|
|
KITTRIDGE (O.S.)
|
|
Let's just bring you in safely, and
|
|
then we'll worry about that, okay?
|
|
Were you followed?
|
|
|
|
ETHAN closes his eyes. KITTRIDGE'S voice is strong and
|
|
reassuring and he needs that right now.
|
|
|
|
ETHAN
|
|
I don't think so.
|
|
|
|
KITTRIDGE (O.S.)
|
|
Don't think, be sure. Are you
|
|
clean?
|
|
|
|
ETHAN
|
|
Yes.
|
|
|
|
KITTRIDGE (O.S.)
|
|
Location green. One hour. I'll be
|
|
there myself.
|
|
|
|
ETHAN
|
|
You're in Prague?
|
|
|
|
KITTRIDGE (O.S.)
|
|
Heard a lot about you, Hunt. Don't
|
|
disappoint me.
|
|
|
|
ETHAN
|
|
No sir.
|
|
|
|
KITTRIDGE (O.S.)
|
|
One hour.
|
|
34.
|
|
|
|
|
|
He hangs up. ETHAN does the same. He stares at the phone
|
|
for a moment, thinking. He checks his watch.
|
|
|
|
|
|
69 EXT. STREET - NIGHT 69
|
|
|
|
ETHAN steps out of the phone booth and starts down the
|
|
street. Every face seems to be starring at him now, every
|
|
sound is menacing. He pulls his coat in tight, shoves his
|
|
hands in his pockets and walks among the crowd.
|
|
|
|
|
|
70 EXT. OLD TOWN SQUARE - NIGHT 70
|
|
|
|
ETHAN makes his way past the old town clock, a towering,
|
|
gothic structure and into a plaza, surrounded mostly by
|
|
residential buildings.
|
|
|
|
ETHAN'S POV
|
|
|
|
Straight across from him is a glass enclosed restaurant
|
|
built on the portico of an old palace.
|
|
|
|
Brilliantly lit up from inside, the restaurant positively
|
|
shimmers, every table visible from everywhere in the plaza.
|
|
|
|
|
|
71 INT. RESTAURANT - NIGHT 71
|
|
|
|
ETHAN'S POV
|
|
|
|
ETHAN walks in the glass front doors, right next to an
|
|
enormous fish tank, part of the restaurant's exterior wall.
|
|
He scans the clientele carefully -- maybe a dozen PATRONS
|
|
are scattered around.
|
|
|
|
EUGENE KITTRIDGE is seated at a table in the middle. He and
|
|
ETHAN make eye contact. ETHAN walks to the table, a couple
|
|
of quick, seemingly cursory glances around the room as he
|
|
goes. KITTRIDGE has been working on a pretty good-sized
|
|
lobster. He rises to greet ETHAN and they sit.
|
|
|
|
KITTRIDGE
|
|
I can't tell you how sorry I am. I
|
|
know how much Jim, in particular,
|
|
meant to you, Ethan. Personally as
|
|
well as professionally.
|
|
|
|
ETHAN
|
|
Yeah.
|
|
|
|
He spots a stack of documents on the table.
|
|
35.
|
|
|
|
|
|
ETHAN picks them up. There's a Canadian picture bearing
|
|
ETHAN photo and the name Phillipe Doucette, credit cards,
|
|
driver's license, etc.
|
|
|
|
KITTRIDGE
|
|
Passport, visas - you know the
|
|
drill. We'll work the exfiltration
|
|
thru Canada, debrief you at
|
|
Langley. Throw the Prague police a
|
|
bone, you know toss them a few
|
|
suspects. Follow me?
|
|
|
|
ETHAN
|
|
Yeah. I follow you.
|
|
|
|
KITTRIDGE
|
|
We've lost enough agents for one
|
|
night.
|
|
|
|
ETHAN
|
|
You mean I've lost enough agents
|
|
for one night.
|
|
|
|
KITTRIDGE seems to be at the point of saying one thing,
|
|
then, carefully:
|
|
|
|
KITTRIDGE
|
|
You seem hell bent on blaming
|
|
yourself, Ethan.
|
|
|
|
ETHAN
|
|
Who else is left?
|
|
|
|
KITTRIDGE
|
|
Yes. I see your point.
|
|
|
|
ETHAN
|
|
Why was there another team?
|
|
|
|
KITTRIDGE
|
|
What?
|
|
|
|
ETHAN
|
|
Of IMF agents. At the Embassy.
|
|
Tonight.
|
|
|
|
KITTRIDGE
|
|
I don't quite follow you.
|
|
|
|
ETHAN
|
|
Let's see if you can follow me
|
|
around this room.
|
|
36.
|
|
|
|
|
|
(eyes moving around the
|
|
room)
|
|
The drunk Russians on the
|
|
embankment at 7 and 8 o'clock...The
|
|
couple waltzing around me at the
|
|
Embassy at 9 and 11. The waiter
|
|
behind Hannah at the top of the
|
|
staircase - Bowtie, 12 o'clock. The
|
|
other IMF team. You're worried
|
|
about me. Why?
|
|
|
|
KITTRIDGE
|
|
(a tight little smile)
|
|
You're right. Maybe this'll save
|
|
some time.
|
|
|
|
The figures around the room have grown restless. KITTRIDGE
|
|
tries to indicate that it's okay. He pulls some papers out
|
|
of his jacket.
|
|
|
|
KITTRIDGE
|
|
For a little over two years now
|
|
we've been spotting serious
|
|
blowback in IMF operations. We have
|
|
a penetration. The other day we
|
|
decoded a message on the Internet
|
|
from a Czech we know as "Max."
|
|
|
|
ETHAN
|
|
The arms dealer.
|
|
|
|
KITTRIDGE
|
|
That's right. Max, it seems, has
|
|
two unique gifts -- a capacity for
|
|
anonymity and for corrupting
|
|
susceptible agents. This time he's
|
|
gotten to someone on the inside -
|
|
he's put himself in a position to
|
|
buy our NOC list. An operation he
|
|
referred to as "Job 314". The job
|
|
he thought Golitsyn was doing
|
|
tonight.
|
|
|
|
ETHAN
|
|
But the list Golitsyn stole was a
|
|
decoy.
|
|
|
|
KITTRIDGE
|
|
Correct the actual list is safe at
|
|
Langley. "Golitsyn" was a lightning
|
|
rod, one of ours.
|
|
|
|
ETHAN
|
|
37.
|
|
|
|
|
|
This whole operation was a
|
|
molehunt.
|
|
|
|
KITTRIDGE
|
|
Yes, the mole's deep inside. And --
|
|
like you said. You survived.
|
|
|
|
ETHAN stares at him levelly.
|
|
|
|
KITTRIDGE
|
|
I want to show you something,
|
|
Ethan.
|
|
|
|
He now shoves the papers across the table. They're xeroxed
|
|
copies of a Wisconsin bank account in the name of DONALD
|
|
and MARGARET ETHAN HUNT. It shows a balance of $127,000.
|
|
|
|
KITTRIDGE
|
|
Since your father's death, your
|
|
family's farm has been in sub-
|
|
chapter S and now, suddenly,
|
|
they're flush with over a hundred
|
|
and twenty grand in the bank. Dad's
|
|
illness was supposed to have wiped
|
|
out the bank account -- dying
|
|
slowly in America after all, can be
|
|
a very expensive proposition Ethan.
|
|
So, why don't we go quietly out of
|
|
here onto the plane...
|
|
|
|
ETHAN
|
|
How about if we just go quietly
|
|
into the bathroom and I wash your
|
|
mouth out with soap - you pathetic
|
|
button down bureaucratic asshole.
|
|
|
|
KITTRIDGE
|
|
Ethan, I can understand you're very
|
|
upset.
|
|
|
|
ETHAN
|
|
Kittridge, you've never seen me
|
|
very upset.
|
|
|
|
ETHAN takes something from his jacket pocket. While
|
|
KITTRIDGE talks, ETHAN unwraps whatever is in his hand.
|
|
|
|
KITTRIDGE
|
|
38.
|
|
|
|
|
|
All right, enough is enough Hunt.
|
|
You've bribed, cajoled, killed -
|
|
and relied on intimate loyalties to
|
|
get away with it. You're determined
|
|
to shake hands with the devil and
|
|
I'm going to make sure you do it in
|
|
hell.
|
|
|
|
We see what ETHAN holds in his hand -- it's the piece of
|
|
bubble gum, half red, half green. He squeezes the gum,
|
|
mushing the two sides together.
|
|
|
|
ETHAN lashes out, swatting KITTRIDGE'S glass of wine off
|
|
the table in one quick motion. As he does, he hurls the
|
|
piece of gum.
|
|
|
|
Diners look up, startled at the sound of the breaking wine
|
|
glass. KITTRIDGE follows the trajectory of the glass --
|
|
|
|
-- and sees the piece of gum, stuck to the tank. His eyes
|
|
widen. KA BOOM!
|
|
|
|
The tiny piece of plastique explodes, SHATTERING the fish
|
|
tank. A hundred gallons of water flow over the MAN and
|
|
WOMAN, knocking them to the ground.
|
|
|
|
At the same time, ETHAN bolts for the door.
|
|
|
|
|
|
72 EXT. OLD TOWN SQUARE - NIGHT 72
|
|
|
|
ETHAN races out of the restaurant and takes off, into the
|
|
deserted square.
|
|
|
|
|
|
73 EXT. SAFE HOUSE - ENTRYWAY - NIGHT 73
|
|
|
|
Silence. ETHAN enters the darkened entry.
|
|
|
|
|
|
74 INT. SAFE HOUSE STAIRWELL - NIGHT 74
|
|
|
|
ETHAN glances up at the stairwell. Naked light bulbs
|
|
illuminate the way up. He slips off his jacket and shirt,
|
|
then puts his jacket back on.
|
|
|
|
|
|
75 INT. SAFE HOUSE STAIRWELL - MOMENTS LATER - NIGHT 75
|
|
|
|
ETHAN unscrews a bulb. He crushes the bulb in his shirt and
|
|
scatters the glass fragments on the steps. He climbs to the
|
|
next bulb.
|
|
39.
|
|
|
|
|
|
76 INT. SAFE HOUSE - DOORWAY - NIGHT 76
|
|
|
|
At the now-darkened door to the apartment, there's the soft
|
|
sound of another bulb being POPPED in cloth, glass
|
|
fragments dropping and ETHAN'S at the door.
|
|
|
|
|
|
77 INT. SAFE HOUSE - NIGHT 77
|
|
|
|
In the darkened safe house, ETHAN goes to a vase with
|
|
flowers, picks it up and unscrews the bottom, retrieving a
|
|
Sig Sauer automatic. He moves through the rooms, checking
|
|
them as he goes.
|
|
|
|
|
|
78 INT. SAFE HOUSE BATHROOM - NIGHT 78
|
|
|
|
ETHAN checks the shower, then goes to his shaving kit,
|
|
pulling out a shaving cream can and a hairspray can. He
|
|
unscrews the bottoms, retrieving cash in various
|
|
denominations from various countries and a couple of
|
|
passports.
|
|
|
|
As he pockets them, he catches sight of himself in the
|
|
mirror. He's a mess. He splashes water on his face.
|
|
|
|
|
|
79 INT. SAFE HOUSE KITCHEN - NIGHT 79
|
|
|
|
ETHAN greedily tears the cap off a bottle of mineral water
|
|
and proceeds to guzzle it as if he was dying of thirst.
|
|
|
|
|
|
80 INT. SAFE HOUSE - NIGHT 80
|
|
|
|
He comes back into the living room. Still drinking, he
|
|
notices flickering lights on the other side of the room,
|
|
the static from the four monitors PHELPS was watching. One
|
|
by one, he switches them off.
|
|
|
|
THE LAPTOP
|
|
JACK had been using lies closed at
|
|
his abandoned desk. ETHAN wakes it
|
|
up.
|
|
|
|
The computer emits a DIAL TONE, then STATIC as it hits its
|
|
connection. It prompts ETHAN along:
|
|
|
|
SELECT USENET GROUP
|
|
|
|
ETHAN TYPES IN
|
|
|
|
job 314
|
|
40.
|
|
|
|
|
|
ETHAN
|
|
Job. Job 3:14. March fourteen. Job
|
|
31 March.
|
|
|
|
The computer replies:
|
|
|
|
SEARCHING STRING NOT FOUND
|
|
|
|
ETHAN tries again:
|
|
|
|
max.com
|
|
|
|
The answer:
|
|
|
|
SEARCH STRING NOT FOUND
|
|
|
|
He tries a few more, quickly -- "job," "jobs,"
|
|
"joblist.com," but nothing comes up. He tries something
|
|
else -- "scroll usenet groups."
|
|
|
|
The computer scrolls names of bulletin boards at a dizzying
|
|
speed, by the hundreds. That's not going anywhere.
|
|
|
|
ETHAN pauses, slaking his bottomless thirst and trying to
|
|
figure out what permutation of "job 314" he should add to
|
|
the others on his computer screen. He MUMBLES.
|
|
|
|
ETHAN
|
|
Job three fourteen. Job --
|
|
(a realization, the
|
|
Biblical pronunciation)
|
|
It's Job!
|
|
|
|
He rummages around on the desk, checks the bookshelf and
|
|
finds a Gideon Bible. He turns to Job 3:14 and reads the
|
|
Bible passage "Kings and Counsellors..."
|
|
|
|
He thinks for another moment, then punches back into the
|
|
Internet and under the command "Select Usenet Group" he
|
|
types:
|
|
|
|
BIBLE
|
|
The computer replies:
|
|
|
|
126 ENTRIES FOUND, SPECIFY GROUP 126
|
|
|
|
ETHAN:
|
|
|
|
BOOK OF JOB
|
|
|
|
The computer presents a multi-colored screen of religious
|
|
icons and artwork with an accompanying message:
|
|
41.
|
|
|
|
|
|
WELCOME TO THE BOOK OF JOB DISCUSSION
|
|
|
|
GROUP. WHICH CHAPTER AND VERSE DO
|
|
|
|
YOU WISH TO POST YOUR ENTRY UNDER?
|
|
|
|
ETHAN types his answer "Job 3:14" and the screen presents a
|
|
"stickie" for him to write his message on. He does:
|
|
|
|
ETHAN
|
|
Max -- Goods tainted. Consider
|
|
extremely hazardous. DO NOT USE.
|
|
Fate will be that of kings and
|
|
counsellors who built for
|
|
themselves palaces now lying in
|
|
ruins. Must meet to discuss
|
|
a.s.a.p.
|
|
|
|
ANGLE
|
|
A rhythmic CRUNCHING sound and from
|
|
the darkness on the other side of
|
|
the room, PHELPS staggers toward
|
|
him, wet and muddy, his middle a
|
|
hopelessly bloody mess. He looks
|
|
like he's dying on his feet. ETHAN
|
|
freezes, appalled.
|
|
|
|
PHELPS
|
|
Ethan, what are you doing?
|
|
|
|
ETHAN tries to speak but nothing will come out.
|
|
|
|
PHELPS
|
|
I needed you, Ethan. 1 needed you
|
|
on the bridge, and -- you weren't
|
|
there. Ethan? Ethan?
|
|
|
|
ETHAN reaches out to grab PHELPS but can't seem to touch
|
|
him. PHELPS suddenly vanishes into thin air, ETHAN awakens
|
|
from the dream and finds himself leaping to his feet, gun
|
|
cocked and pointed at --
|
|
|
|
ANGLE
|
|
It's CLAIRE.
|
|
|
|
ETHAN
|
|
What are you doing here?!
|
|
|
|
CLAIRE freezes, her hands half-raised.
|
|
|
|
CLAIRE
|
|
(carefully)
|
|
42.
|
|
|
|
|
|
Ethan -- Ethan, it's okay. It's
|
|
Claire. Ethan what's wrong with
|
|
you?
|
|
|
|
ETHAN
|
|
Don't move.
|
|
|
|
Her right hand has moved a fraction. She freezes again.
|
|
|
|
ETHAN
|
|
You were in the car!
|
|
|
|
CLAIRE
|
|
I wasn't. I heard that Jim was in
|
|
trouble on the radio. He said
|
|
someone was...
|
|
|
|
ETHAN
|
|
Shut up! I saw you. You were in the
|
|
car.
|
|
|
|
CLAIRE
|
|
No, I got out of the car and I ran
|
|
to the bridge.
|
|
|
|
ETHAN
|
|
Don't give me that! I was on the
|
|
bridge.
|
|
|
|
CLAIRE
|
|
What happened to Jim?
|
|
|
|
ETHAN
|
|
There was nobody on the bridge.
|
|
|
|
CLAIRE
|
|
What happened to Jim?
|
|
|
|
Ethan grabs her wrists, shouting.
|
|
|
|
ETHAN
|
|
Dead. Dead. Dead! Wake up, Claire!
|
|
Jim's dead, they're dead. They're
|
|
all dead!
|
|
|
|
ETHAN releases her wrists.
|
|
|
|
CLAIRE
|
|
(mumbling)
|
|
They're dead. Jim's dead.
|
|
|
|
ETHAN
|
|
Take off your coat.
|
|
43.
|
|
|
|
|
|
CLAIRE
|
|
What?
|
|
|
|
ETHAN
|
|
Take off your God damn coat!
|
|
|
|
He grabs a sleeve and literally tears the coat off her,
|
|
half- spinning her around. The coat hits the floor like a
|
|
dead body. CLAIRE'S instinctive move is to cover her chest.
|
|
|
|
CLAIRE begins to shiver. ETHAN circles her, runs his hand
|
|
cursorily across her body. It accentuates CLAIRE'S
|
|
shivering.
|
|
|
|
ETHAN
|
|
Where were you?
|
|
|
|
CLAIRE
|
|
I walked away. He said abort. He
|
|
was gone so I walked away.
|
|
|
|
ETHAN
|
|
That was four hours ago! Who sent
|
|
you? Did they send you here?
|
|
|
|
CLAIRE
|
|
(slowly)
|
|
Who is "they?"
|
|
|
|
ETHAN
|
|
Did they send you...Did they send
|
|
you?
|
|
|
|
CLAIRE
|
|
Who is they, who is they?
|
|
|
|
ETHAN grabs her by the wrists.
|
|
|
|
ETHAN
|
|
Who sent you?! Who sent you?
|
|
|
|
CLAIRE
|
|
(screaming)
|
|
No one sent me!
|
|
|
|
We're supposed to be back here at four o'clock, four
|
|
o'clock, if we abort, we don't return here until four
|
|
o'clock, 0-four hundred, four am, four o'clock --!
|
|
|
|
She sags. A moment. Then the clock begins to chime -- BONG,
|
|
BONG, BONG, BONG. In the wake of the bells' reverb, ETHAN
|
|
releases his grip on her wrists.
|
|
44.
|
|
|
|
|
|
81 INT. SAFE HOUSE - LATER THE SAME NIGHT 81
|
|
|
|
ETHAN sits in front of the computer, staring blankly at it,
|
|
still waiting for a response. CLAIRE sitting on the end of
|
|
the bed. Dawn approaches, it's very, very quiet.
|
|
|
|
CLAIRE
|
|
Why haven't they brought us in yet?
|
|
|
|
ETHAN
|
|
I've been disavowed. They think I
|
|
killed Jim and everyone else.
|
|
Somehow a hundred thousand dollars
|
|
found its way into my parents' bank
|
|
account. Kittridge assumes I'm a
|
|
mole they've been tracing and I've
|
|
been in the employ of an arms
|
|
dealer, Max, for the last two
|
|
years, to get him our NOC list.
|
|
|
|
A long moment while she stares at ETHAN's back.
|
|
|
|
CLAIRE
|
|
What are you going to do?
|
|
|
|
ETHAN
|
|
I'm going to get it for him.
|
|
Whoever the mole is, I think goes
|
|
by the name of Job, at least part
|
|
of the time. 1 can't find him, but
|
|
if he knows 1 have the NOC list,
|
|
he'll find me.
|
|
|
|
CLAIRE
|
|
Ethan, you're not making sense. Let
|
|
me go in and talk to Kittridge. I'm
|
|
going to tell him you had nothing
|
|
to do...
|
|
|
|
ETHAN
|
|
Claire, Claire, Claire, if you're
|
|
not dead, he's going to assume
|
|
you're with me.
|
|
|
|
The computer blinks and makes a noise - ETHAN goes to it.
|
|
|
|
THE COMPUTER SCREEN
|
|
|
|
Blinking -- "MESSAGE WAITING." ETHAN hurries over and
|
|
clicks on the message box. The screen blinks and the
|
|
message shows up:
|
|
|
|
JOB - CORNER OF NEKAZANKA AND PRlKOPY ONE P.M.
|
|
45.
|
|
|
|
|
|
BUY A PACKET OF DUNHILL
|
|
|
|
AND ASK THE MAN SITTING ON THE BUS
|
|
|
|
STOP BENCH FOR A MATCH
|
|
|
|
CLAIRE looks to ETHAN.
|
|
|
|
CLAIRE
|
|
The message is for Job.
|
|
|
|
ETHAN
|
|
I'm going to answer it.
|
|
|
|
|
|
82 EXT. STREET BY BANK/FLORENC BUS STOP - DAY 82
|
|
|
|
ETHAN arrives at the bus stop outside the Savoy Arcade. A
|
|
MAN in a black wind-breaker sits on the bench, his back to
|
|
|
|
ETHAN.
|
|
|
|
ETHAN
|
|
Excuse me, could I trouble you for
|
|
a match?
|
|
|
|
Without turning, the MAN offers up a box of matches. As
|
|
ETHAN takes them, TWO MEN from behind take him by either
|
|
arm and escort him into a car which has just pulled up.
|
|
|
|
|
|
83 INT. CAR - DAY 83
|
|
|
|
ETHAN slides into the back seat, between the TWO MEN.
|
|
MATTHIAS, the man on the left, holds up a black hood. He
|
|
extends it to ETHAN, who doesn't take it.
|
|
|
|
MATTHIAS
|
|
Would you remove your hat please?
|
|
|
|
ETHAN
|
|
Why?
|
|
|
|
MATTHIAS
|
|
You wish to meet Max? This is the
|
|
price of admission.
|
|
|
|
Reluctantly, Ethan pulls the hood over his head and the car
|
|
takes off.
|
|
|
|
|
|
84 INT. MAX'S APARTMENT - DAY 84
|
|
46.
|
|
|
|
|
|
The black hood still on his head, ETHAN has trouble sitting
|
|
upright. He's before a desk, in an apartment somewhere in
|
|
the city -- it's impossible to tell where, as the blinds
|
|
are drawn. The place is roomy and lavishly furnished --
|
|
expensive Oriental rugs, well-chosen objects of art.
|
|
|
|
Somewhere down the block, a dog BARKS, steadily, every few
|
|
seconds. In the hallway outside the apartment door, someone
|
|
is VACUUMING. MATTHIAS and the OTHER MAN are nearby.
|
|
|
|
ETHAN
|
|
I thought I was going to see Max.
|
|
|
|
MATTHIAS
|
|
You misunderstood. No one sees Max.
|
|
|
|
ETHAN
|
|
Then what am I doing here?
|
|
|
|
MATTHIAS
|
|
Allowing Max to see you and hear
|
|
what you've got to say.
|
|
|
|
ETHAN
|
|
I don't communicate very well
|
|
through a shroud.
|
|
|
|
MATTHIAS
|
|
If Max doesn't like what you have
|
|
to say, you'll be wearing that
|
|
shroud indefinitely.
|
|
|
|
ETHAN
|
|
I'm willing to take the chance.
|
|
|
|
MATTHIAS
|
|
Very well.
|
|
|
|
MAX'S figure into frame. MATTHIAS removes ETHAN's hood.
|
|
When it comes off ETHAN finds himself looking up at a tall
|
|
woman of indeterminate age. She's handsome to the point of
|
|
severity.
|
|
|
|
MAX
|
|
Who are you and what are you doing
|
|
here?
|
|
|
|
ETHAN
|
|
I need one hundred thousand
|
|
dollars.
|
|
|
|
MAX
|
|
47.
|
|
|
|
|
|
Really? And you thought if you
|
|
simply showed up I might give it to
|
|
you?
|
|
|
|
ETHAN
|
|
Why not? You gave Job a hundred and
|
|
twenty five thousand.
|
|
|
|
MAX
|
|
The penny drops. You are not Job.
|
|
Yes, Job is not given to quoting
|
|
Scripture in his communications.
|
|
And there was its tone --
|
|
aggressive but playful. Job is not
|
|
playful. So you're something of a
|
|
paradox.
|
|
|
|
ETHAN
|
|
That depends.
|
|
|
|
MAX
|
|
On what?
|
|
|
|
ETHAN
|
|
Whether you like a paradox. I want
|
|
a hundred and fifty thousand
|
|
dollars.
|
|
|
|
MAX
|
|
It's quite out of the question.
|
|
|
|
ETHAN
|
|
The disk Job sold you is worthless.
|
|
It's bait, part of an internal
|
|
molehunt.
|
|
|
|
MAX
|
|
And how might you know that? Are
|
|
you another Company man?
|
|
|
|
ETHAN
|
|
Like Job?
|
|
|
|
MAX
|
|
Ah, but, we're asking about you.
|
|
|
|
ETHAN
|
|
I'm NOC. Was. Now disavowed.
|
|
|
|
MAX
|
|
Why, may I ask?
|
|
|
|
ETHAN
|
|
48.
|
|
|
|
|
|
That's the question I want to ask
|
|
Job.
|
|
|
|
MAX
|
|
I don't know Job any more than he
|
|
knows me.
|
|
|
|
ETHAN
|
|
Even so, I'm sure you could arrange
|
|
an introduction.
|
|
|
|
MAX
|
|
Why should I?
|
|
|
|
ETHAN
|
|
Because I can deliver the actual
|
|
NOC list. The one you have is not
|
|
only worthless, it's certain to be
|
|
equipped with a homing device to
|
|
pinpoint your exact location.
|
|
|
|
MAX
|
|
It's easy to say the disk is
|
|
worthless when you say I can't look
|
|
at the information and see if it's
|
|
worthless. Not a tenable position,
|
|
sir.
|
|
|
|
ETHAN
|
|
Okay, boot it up and in anywhere
|
|
from thirty seconds to ten minutes
|
|
you're gonna have Virginia farm
|
|
boys hopping around you like
|
|
jackrabbits.
|
|
|
|
MAX
|
|
(Pause.)
|
|
Mm - Hmmm...
|
|
|
|
ETHAN
|
|
Tell you what. How good's the RF
|
|
scanner you used in the car?
|
|
|
|
MAX
|
|
Very good.
|
|
|
|
ETHAN
|
|
Okay, use it. But I suggest pack up
|
|
first.
|
|
|
|
ANGLE
|
|
49.
|
|
|
|
|
|
MATTHIAS boots up. There's a little musical noise and the
|
|
screen brightens. The computer WHIRS and CLICKS and a
|
|
complex list of names, addresses, phone numbers and other
|
|
personal information scrolls by. But Matthias is watching
|
|
the digital read-out on the RF scanner.
|
|
|
|
MATTHIAS
|
|
Twenty-six, twenty-seven. So far so
|
|
good.
|
|
|
|
MAX
|
|
That's not so good for you, my
|
|
friend.
|
|
|
|
On the scanner, the digital read-out is now in the
|
|
thirties.
|
|
|
|
MATTHIAS
|
|
Thirty-two and change.
|
|
|
|
MAX
|
|
(to Ethan)
|
|
Doesn't mean it's a signal. Could
|
|
just be the hard drive heating up.
|
|
|
|
She looks from the scanner to ETHAN as if she's trying to
|
|
make up her mind about something.
|
|
|
|
MATTHIAS
|
|
Forty-four. Forty-five.
|
|
|
|
ETHAN
|
|
I'd say you've got about two
|
|
minutes.
|
|
|
|
MAX still doubts it. The OTHER MAN goes to the windows --
|
|
|
|
--nothing happens. He opens the French doors that lead out
|
|
onto a balcony.
|
|
|
|
|
|
85 EXT. MAX'S APARTMENT - BALCONY - DAY 85
|
|
|
|
The OTHER MAN comes out on the balcony. Nothing out here
|
|
but a beautiful day. He walks to the railing and looks down
|
|
at the street.
|
|
|
|
Down below, the dog that's still barking is tied to a
|
|
street sign. WOOF. WOOF. WOOF. Abruptly, it stops.
|
|
|
|
|
|
86 INT. MAX'S APARTMENT - DAY 86
|
|
50.
|
|
|
|
|
|
Back inside:
|
|
|
|
MATTHIAS
|
|
Fifty-seven. Fifty-nine.
|
|
|
|
|
|
87 EXT. MAX'S APARTMENT 87
|
|
|
|
A pollution control van and a taxi arrive amidst other
|
|
street activity. KITTRIDGE and the FEMALE CZECH AGENT exit
|
|
the taxi as BARNES and TWO OTHER UNDERCOVER MALE IMF agents
|
|
leave the van.
|
|
|
|
|
|
88 INT. MAX'S BUILDING - LOBBY - DAY 88
|
|
|
|
Led by KITTRIDGE, the FIVE IMF AGENTS wearing Kevlar-lined
|
|
trenchcoats creep through the lobby of the building and hit
|
|
the stairs. They climb them silently.
|
|
|
|
|
|
89 INT. MAX'S BUILDING HALLWAY - DAY 89
|
|
|
|
A CLEANING WOMAN is vacuuming the hall carpeting when the
|
|
AGENTS come up the stairs, guns drawn. Her jaw drops and
|
|
she turns off the vacuum cleaner.
|
|
|
|
FEMALE IMF
|
|
(in czech)
|
|
Switch it on. Keep cleaning.
|
|
|
|
KITTRIDGE looks at her sharply and gestures. She turns the
|
|
vacuum back on. They reach the door of a certain apartment
|
|
and --
|
|
|
|
|
|
90 INT. APARTMENT - DAY 90
|
|
|
|
-- KICK through it. The AGENTS swarm into MAX'S apartment,
|
|
guns waving in all directions. KITTRIDGE sweeps in between
|
|
them and takes command of the place --
|
|
|
|
--but there's nobody here. TWO AGENTS race into the
|
|
bedroom, and just as quickly out again.
|
|
|
|
|
|
91 EXT. POWDER TOWER - TOP SHOT - DAY 91
|
|
|
|
MAX, ETHAN, MATTHIAS and the OTHER MAN move quickly across
|
|
the bridge that connects Max's apartment to the tower.
|
|
|
|
|
|
92 EXT. MAX'S APARTMENT BALCONY - DAY 92
|
|
51.
|
|
|
|
|
|
KITTRIDGE kicks open the door to the balcony, comes
|
|
outside, and looks around. Nobody in sight.
|
|
|
|
KITTRIDGE
|
|
GOD D-
|
|
|
|
|
|
93 INT. MAX'S CAR - ETHAN AND MAX - DAY 93
|
|
|
|
MAX
|
|
Oh dear, Gunther will never let me
|
|
use one of his apartments again.
|
|
(turns to Ethan)
|
|
Phew, sorry I doubted you, dear
|
|
boy. You're a good sport. Do accept
|
|
the compliment.
|
|
|
|
ETHAN
|
|
Thanks, Max. Or is it Maxine?
|
|
|
|
|
|
94 INT. CAR - MOVING - DAY 94
|
|
|
|
MAX
|
|
I don't have to tell you what a
|
|
comfort anonymity can be in my
|
|
profession -- like a warm blanket.
|
|
(abruptly)
|
|
My deal with Job was subject to a
|
|
successful boot scan. Obviously it
|
|
didn't pass muster. Deal's off.
|
|
|
|
ETHAN
|
|
What was your deal with Job?
|
|
|
|
MAX
|
|
Six million dollars. I'll give you
|
|
the same. But I want the complete
|
|
list now, not just Eastern Europe.
|
|
I won't do this piecemeal, it's too
|
|
dangerous. I want the entire list,
|
|
the true name of every non-official
|
|
cover agent throughout the world.
|
|
|
|
ETHAN
|
|
Ten million. Ten million in
|
|
negotiable U.S. Treasury
|
|
certificates, in bearer form,
|
|
coupons attached. And one more
|
|
thing -- your personal assurance
|
|
that Job will be at the exchange.
|
|
|
|
MAX
|
|
52.
|
|
|
|
|
|
Done. Bring it to me in London. I
|
|
want it by the end of the week.
|
|
|
|
ETHAN
|
|
How will you make sure Job will be
|
|
there?
|
|
|
|
MAX
|
|
How will you make sure I'll have
|
|
the list in three days? It's been a
|
|
delight. Now where can I drop you
|
|
dear boy?
|
|
|
|
ETHAN
|
|
I'm not being dropped anywhere
|
|
without my money.
|
|
|
|
MAX manages to laugh without coughing. Then, with an
|
|
admonishing forefinger:
|
|
|
|
MAX
|
|
I'm going to have to front you
|
|
personally. Don't lose that money
|
|
without losing your life.
|
|
|
|
ETHAN
|
|
I wouldn't dream of it.
|
|
|
|
MAX settles back and regards ETHAN. A theatrical sigh. She
|
|
fancies this guy.
|
|
|
|
CUT TO:
|
|
|
|
|
|
95 INT. MAX'S APARTMENT - DAY 95
|
|
|
|
KITTRIDGE waits on the balcony for his AGENTS to complete
|
|
their search. HARRY BARNES, a middle-aged, gray suited,
|
|
somewhat gray-faced bureaucrat, comes to join Kittridge.
|
|
|
|
KITTRIDGE
|
|
The man's gone black, Barnes. He's
|
|
under until he decides to surface.
|
|
|
|
BARNES
|
|
Look we can use someone from the
|
|
Embassy and we can get the local
|
|
authorities involved. Close off his
|
|
transportation.
|
|
|
|
KITTRIDGE
|
|
53.
|
|
|
|
|
|
What can we do, Barnes? Put a guy
|
|
at the airport? How many identities
|
|
do you think Hunt has? How many
|
|
times has he slipped past custom,
|
|
in how many countries? These guys
|
|
are trained to be ghosts. We taught
|
|
them how to do it, for Christ's
|
|
sake!
|
|
|
|
BARNES
|
|
So what do you suggest?
|
|
|
|
KITTRIDGE
|
|
Let's not waste time chasing him.
|
|
Make him come to us. Everybody's
|
|
got pressure points. Find out
|
|
something that's important to him
|
|
personally and you squeeze.
|
|
|
|
CUT TO:
|
|
|
|
|
|
96 INT. SAFE HOUSE - DAY 96
|
|
|
|
ETHAN enters the living room. CLAIRE walks out of the
|
|
bedroom holding a gun.
|
|
|
|
ETHAN reaches into his jacket and holds up a hefty wad of
|
|
currency.
|
|
|
|
CLAIRE
|
|
Max made a deal with you?
|
|
|
|
ETHAN
|
|
I deliver the NOC list, Max
|
|
delivers Job.
|
|
|
|
CLAIRE
|
|
We've got seventy-five rounds for
|
|
your Glock 9, but only twenty for
|
|
the Sig Sauer, one pair of Visco
|
|
glasses with monitor, plenty of
|
|
passports. You said it yourself --
|
|
if I'm not dead, I'm with you.
|
|
|
|
ETHAN
|
|
You're sure about this?
|
|
|
|
CLAIRE
|
|
Jim was my husband. I want to know
|
|
who killed him. ( ALT ) I want to
|
|
get the son of a bitch who did
|
|
this.
|
|
54.
|
|
|
|
|
|
ETHAN
|
|
We need help, and we don't have
|
|
time. They have to be local.
|
|
|
|
CLAIRE
|
|
What kind of help?
|
|
|
|
|
|
97 INT. SAFE HOUSE - MOMENTS LATER - DAY 97
|
|
|
|
The KY57 crypto phone, a black box with an ordinary phone
|
|
receiver in the top, THUNKS down on the table.
|
|
|
|
ETHAN plugs the phone cable from his laptop into the back.
|
|
The green display on top of the KY57 dials a number and
|
|
makes a computer connection.
|
|
|
|
On the computer, the screen says:
|
|
|
|
I.M.F. PERSONNEL DATABASE
|
|
|
|
ENTER PASSWORD NOW
|
|
|
|
ETHAN types a password and the screen asks him for the
|
|
|
|
CATEGORY?
|
|
|
|
He types in a single word.
|
|
|
|
DISAVOWED
|
|
|
|
DISSOLVE TO:
|
|
|
|
|
|
98 INT. TRAIN - STATEROOM - NIGHT 98
|
|
|
|
The word "disavowed" dissolves slowly over the stateroom of
|
|
a high speed train, where the newly assembled IM force has
|
|
gathered around a table -- KRIEGER, a dangerous-looking
|
|
Frenchman of forty or so, LUTHER STICKELL, a muscular,
|
|
soft- spoken American in his mid-thirties. ETHAN, and
|
|
CLAIRE. LUTHER regards the others warily.
|
|
|
|
ETHAN
|
|
Simple game. Four players.
|
|
(points to Krieger)
|
|
Exfil opens the pocket --
|
|
(and to Luther)
|
|
-- cyber ops lifts the wallet.
|
|
|
|
KRIEGER
|
|
Bank?
|
|
55.
|
|
|
|
|
|
ETHAN
|
|
IMF mainframe.
|
|
|
|
KRIEGER
|
|
(after a moment)
|
|
Where exactly is it?
|
|
|
|
ETHAN
|
|
In Langley.
|
|
|
|
LUTHER
|
|
In Langley? The one in Virginia,
|
|
Langley?
|
|
|
|
KRIEGER
|
|
Inside CIA headquarters at Langley.
|
|
|
|
ETHAN nods. KRIEGER turns to CLAIRE.
|
|
|
|
KRIEGER
|
|
Is he serious?
|
|
|
|
CLAIRE
|
|
Always.
|
|
|
|
KRIEGER
|
|
If we're going to Virginia, why
|
|
don't we drop by Fort Knox? I can
|
|
fly a helicopter right in through
|
|
the lobby and set it down inside
|
|
the vault and it will be a hell of
|
|
a lot easier than breaking into the
|
|
God damn CIA.
|
|
|
|
LUTHER
|
|
What are we downloading?
|
|
|
|
ETHAN
|
|
Information.
|
|
|
|
LUTHER
|
|
What kind?
|
|
|
|
ETHAN
|
|
Profitable.
|
|
|
|
CLAIRE
|
|
Payment on delivery.
|
|
|
|
LUTHER
|
|
I don't know. This I don't know.
|
|
|
|
ETHAN
|
|
56.
|
|
|
|
|
|
This doesn't sound like the Luther
|
|
Stickell I've heard of. What'd they
|
|
used to call you? The Net Ranger?
|
|
Phineas Phreak? The only man alive
|
|
who actually hacked NATO Ghostcom.
|
|
|
|
LUTHER
|
|
There was never any physical
|
|
evidence that I had anything to do
|
|
with that.. that..
|
|
(correcting himself)
|
|
With that exceptional piece of
|
|
work.
|
|
|
|
ETHAN
|
|
You don't know what you're missing.
|
|
This is the Mt. Everest of hacks.
|
|
|
|
LUTHER
|
|
You're all kidding yourselves. Even
|
|
with top of the line crypto. Cray
|
|
access. STU 3's --
|
|
|
|
CLAIRE
|
|
Krieger can get it.
|
|
(to Krieger)
|
|
Right?
|
|
|
|
KRIEGER
|
|
May take a little time.
|
|
|
|
ETHAN
|
|
May take a little time. That's not
|
|
what Claire tells me about you.
|
|
|
|
LUTHER
|
|
Thinking Machine laptops, I'm
|
|
talking about the 686 prototypes --
|
|
with the artificial intelligence
|
|
Risk chip --
|
|
|
|
ETHAN looks at KRIEGER.
|
|
|
|
KRIEGER
|
|
Twenty-four hours.
|
|
|
|
ETHAN looks back at LUTHER. LUTHER thinks.
|
|
|
|
LUTHER
|
|
And I get to keep the equipment
|
|
when we're done.
|
|
|
|
ETHAN
|
|
57.
|
|
|
|
|
|
Luther, I guess you're all out of
|
|
excuses.
|
|
|
|
LUTHER
|
|
I can't just hack my way inside.
|
|
There's no modem access to the
|
|
mainframe, it's in a stand-alone.
|
|
I'd have to be physically at the
|
|
terminal.
|
|
|
|
ETHAN
|
|
Luther, relax, it's worse than you
|
|
think. The terminal's in black
|
|
vault lock-down.
|
|
|
|
|
|
99 INT. CIA CORRIDOR - GUARD STATION - DAY 99
|
|
|
|
While ETHAN talks, we see what he's referring to:
|
|
|
|
A CIA ANALYST carrying a glass of iced tea and several file
|
|
folders walks down a long corridor in the headquarters
|
|
building. He comes to an impressive guard station and rests
|
|
his chin on a strange-looking optometric device.
|
|
|
|
ETHAN (V.O.)
|
|
They missed nothing in that room.
|
|
Even the vents have laser nets over
|
|
them.
|
|
|
|
Apparently the device approves and the ANALYST is buzzed
|
|
into a "RESTRICTED" area of the building.
|
|
|
|
|
|
100 INT. CIA COMPUTER ANTEROOM - DAY 100
|
|
|
|
The ANALYST reaches a curtained area. He shoves the curtain
|
|
aside and comes to a large, vaulted door. He slides a card-
|
|
key into a slot, leaves it there and slides a second card-
|
|
key into the slot beneath it.
|
|
|
|
ETHAN (V.O.)
|
|
Inside, there are three
|
|
countermeasure systems that can
|
|
only be deactivated by authorized
|
|
entry. Which we won't have.
|
|
|
|
A panel next to the ANALYST says "INTRUSION COUNTERMEASURES
|
|
OFF." The ANALYST next spins a three digit combination
|
|
code, CHUNKS the door open and steps into --
|
|
|
|
|
|
101 INT. CIA COMPUTER ROOM - DAY 101
|
|
58.
|
|
|
|
|
|
-- the secured terminal room. It's not large but it's
|
|
impressive. A single terminal is bolted into the middle of
|
|
the floor and the glass and tile walls of the room overlook
|
|
computer storage towers.
|
|
|
|
ETHAN (V.O.)
|
|
The first system is sound-
|
|
sensitive, anything above a whisper
|
|
sets it off. The second system is
|
|
on the floor and pressure-sensitive
|
|
--
|
|
|
|
The ANALYST closes the vault door behind him and walks
|
|
across the room. As he walks, the floor tiles light up
|
|
under his feet, turning off again when he lifts the weight
|
|
from them.
|
|
|
|
ETHAN (V.O.)
|
|
--and the third detects any
|
|
increase in temperature. Even the
|
|
body heat of an unauthorized person
|
|
in the room will trigger it.
|
|
|
|
A thermometer on the wall shows the temperature is 72
|
|
degrees. The ANALYST sets his glass down, boots up the
|
|
computer, and starts entering data from the file folders.
|
|
|
|
ETHAN (V.O.)
|
|
All three systems are state of the
|
|
art.
|
|
|
|
The ANALYST turns and takes a sip of his iced tea. A drop
|
|
of condensation runs down the glass and hits the floor.
|
|
When it makes contact, the floor panel lights up.
|
|
|
|
|
|
102 INT. TRAIN STATEROOM - NIGHT 102
|
|
|
|
The other team members gathered around the table look at
|
|
ETHAN skeptically.
|
|
|
|
LUTHER
|
|
And you really think we can do
|
|
this.
|
|
|
|
|
|
103 INT. TRAIN CORRIDOR - NIGHT 103
|
|
|
|
The middle of the night and the train is dark. The team
|
|
members come out of the stateroom to go to bed -- KRIEGER
|
|
heads in one direction, ETHAN and CLAIRE in the other.
|
|
59.
|
|
|
|
|
|
ETHAN stops. His attention is drawn to the car ahead. There
|
|
is a window in the door to the car and he looks through it.
|
|
|
|
|
|
104 INT. BUSINESS CAR - NIGHT) 104
|
|
|
|
Ethan sees the business car, a plush space for busy
|
|
executives to get some work done on the train. There are
|
|
laptops, cellular phones, desks that fold out in front of
|
|
spacious seats.
|
|
|
|
A FEMALE EXECUTIVE, forty or so, is seated at one of the
|
|
desks, typing away into her laptop.
|
|
|
|
|
|
105 INT. TRAIN - CORRIDOR - NIGHT 105
|
|
|
|
ETHAN knocks on the compartment door.
|
|
|
|
ETHAN
|
|
May I come in?
|
|
|
|
CLAIRE
|
|
(wary but interested)
|
|
Sure...
|
|
|
|
|
|
106 INT. TRAIN - CLAIRE'S COMPARTMENT - NIGHT 106
|
|
|
|
ETHAN and CLAIRE enter, ETHAN closing the compartment door.
|
|
He pulls an envelope from his jacket and holds it out to
|
|
her. She takes it, waits.
|
|
|
|
ETHAN
|
|
It's cash. And a second passport.
|
|
If anything goes wrong when we're
|
|
inside, if you sense even the
|
|
slightest deviation don't look over
|
|
your shoulder, you walk away - you
|
|
hear me? Just walk away.
|
|
|
|
CLAIRE
|
|
You don't think we're going to make
|
|
it.
|
|
|
|
ETHAN
|
|
I didn't say that.
|
|
|
|
CLAIRE
|
|
You didn't have to.........
|
|
|
|
ETHAN
|
|
I just need you to be safe.
|
|
60.
|
|
|
|
|
|
CLAIRE
|
|
What about you?
|
|
|
|
ETHAN
|
|
What about me - Jim called an abort
|
|
- I didn't comply. I lost the team.
|
|
I just need you to be safe.
|
|
|
|
CLAIRE's coolness causes ETHAN to hesitate just enough to
|
|
take it in.
|
|
|
|
CLAIRE
|
|
I wish I'd never laid eyes on you..
|
|
|
|
And they're suddenly, violently in each others arms,
|
|
kissing and half-falling onto the converted bed. She
|
|
suddenly resists. He senses it and pulls away.
|
|
|
|
ETHAN
|
|
Sorry.
|
|
|
|
He rises and goes to the door. He's got his hand on the
|
|
knob when CLAIRE wraps her arms around him from behind,
|
|
turns him to her and kisses him, deeply. This time they
|
|
sink slowly to the bed.
|
|
|
|
CUT TO:
|
|
|
|
|
|
107 EXT. CIA LANGLEY - DAY 107
|
|
|
|
Seen from the air, CIA headquarters is a sprawling complex,
|
|
two huge buildings surrounded by acres of parking lots
|
|
hacked out of a thick forest.
|
|
|
|
LANGLEY
|
|
|
|
|
|
108 INT. COMMUNICATIONS ROOM - DAY 108
|
|
|
|
KITTRIDGE, BARNES, and their STAFF are hard at work,
|
|
photographs and biographical data of ETHAN on various
|
|
computer and television screens around the room. KITTRIDGE
|
|
leans back in his chair, staring at the ceiling.
|
|
|
|
BARNES
|
|
What I want to know is how Hunt
|
|
accessed the disavowed file, even
|
|
after we cut off his authorization
|
|
code.
|
|
|
|
AGENT LOWDEN/AGENT
|
|
61.
|
|
|
|
|
|
MAREK
|
|
He may have used Phelps' code. They
|
|
were friends, and Phelps, was still
|
|
valid for twenty-four hours.
|
|
|
|
BARNES
|
|
If that's the case, we need to
|
|
implement a system to immediately
|
|
deactivate an agent's code
|
|
immediately...
|
|
|
|
KITTRIDGE brings his chair legs down on the floor with a
|
|
BANG.
|
|
|
|
KITTRIDGE
|
|
I can't believe what I'm listening
|
|
to. Hunt just kicked us in the ass,
|
|
you guys are standing here trying
|
|
to figure out what kind of shoes he
|
|
had on! I don't care how he did it,
|
|
I want to know why he did it! Is he
|
|
recruiting? For what purpose?
|
|
|
|
From somewhere in the building, an ALARM sounds, not too
|
|
loud in here.
|
|
|
|
AGENT PAT/AGENT
|
|
|
|
LOWDEN
|
|
Survival.
|
|
|
|
The alarm get louder as it goes off in another part of the
|
|
building.
|
|
|
|
KITTRIDGE
|
|
Too short sighted. This guy's
|
|
proactive, he initiates. The
|
|
question is what does he want now
|
|
and where does he need to get it
|
|
and Barnes what the hell is that
|
|
noise?!
|
|
|
|
An AGENT is just coming in from the hallway.
|
|
|
|
AGENT
|
|
Fire alarm, Gene.
|
|
|
|
KITTRIDGE
|
|
Oh, for -- do we have to evacuate?
|
|
|
|
BARNES
|
|
That's S.O.P..
|
|
62.
|
|
|
|
|
|
KITTRIDGE
|
|
S.O.P..
|
|
|
|
CUT TO:
|
|
|
|
|
|
109 EXT. VIRGINIA TWO LANE HIGHWAY - DAY 109
|
|
|
|
SIRENS BLARING, three fire trucks race past an
|
|
inconspicuous gray van parked on the shoulder of a two lane
|
|
highway.
|
|
|
|
|
|
110 INT. CIA LANGLEY LOBBY - DAY 110
|
|
|
|
Three FIREMEN stomp into the main lobby of the CIA
|
|
headquarters building. ETHAN and KRIEGER are among them, in
|
|
firemen's jumpsuits, carrying packs of equipment.
|
|
|
|
ETHAN takes a breath as they cross to the GUARD's desk. He
|
|
looks up, above him.
|
|
|
|
Etched into the top of one wall are the words "AND YE SHALL
|
|
KNOW THE TRUTH AND THE TRUTH SHALL MAKE YOU FREE."
|
|
|
|
They reach the GUARD. ETHAN, who wears Visco glasses,
|
|
elbows to the front of the group and takes charge.
|
|
|
|
ETHAN
|
|
(to the Guard)
|
|
We picked up alarms in sectors
|
|
three, seven, and twelve.
|
|
|
|
The GUARD checks a screen in front of him.
|
|
|
|
GUARD RICHARD
|
|
Yeah. That's what I've got too.
|
|
|
|
The FIREMEN look at each other. Who is this guy? But he
|
|
seems to know what he's talking about, so --
|
|
|
|
ETHAN
|
|
(to the Guard)
|
|
What sector's the air conditioning?
|
|
|
|
GUARD RANDALL
|
|
Uh -- twenty-one, but there's no
|
|
alarm in sector twenty-one.
|
|
|
|
ETHAN
|
|
I gotta go in there and shut it
|
|
down!
|
|
63.
|
|
|
|
|
|
GUARD RANDALL
|
|
Nobody goes into any sector where
|
|
the alarm didn't go off.
|
|
|
|
ETHAN
|
|
Do you want to blow the fire
|
|
through the whole building?
|
|
|
|
GUARD RICHARD
|
|
(reciting policy)
|
|
Nobody goes into any sector where
|
|
the alarm did not go off --
|
|
|
|
|
|
111 EXT. CIA LANGLEY - PARKING AREA - DAY 111
|
|
|
|
One fire truck is parked slightly behind the others in the
|
|
parking area of the headquarters building. Second truck
|
|
roars past. LUTHER watches it go.
|
|
|
|
|
|
112 INT. FIRE TRUCK - DAY 112
|
|
|
|
LUTHER is in the belly of the fire truck with a ton of
|
|
equipment -- three laptops, a bundle of phone cable, a
|
|
mini- dish antenna, a cellular phone, several thick phone
|
|
company manuals with names like "COSMOS" and "SWITCHED
|
|
ACCESS SERVICE."
|
|
|
|
One laptop serves as a Visco monitor, showing a video image
|
|
in which LUTHER watches ETHAN'S point of view of the
|
|
stubborn GUARD, who's finishing his sentence.
|
|
|
|
GUARD
|
|
(on screen)
|
|
--and it did not go off in twenty-
|
|
one!
|
|
|
|
LUTHER turns to a screen on another computer and searches
|
|
through a complex facilities menu.
|
|
|
|
LUTHER
|
|
(mouths)
|
|
Twenty-one, twenty-one --
|
|
|
|
He finds what he's looking for and double clicks on it. A
|
|
red box on his screen lights up --
|
|
|
|
|
|
113 INT. CIA LANGLEY - LOBBY - DAY 113
|
|
|
|
-- and the same red box lights up on the GUARD'S screen.
|
|
From in the distance, a new ALARM begins to wail.
|
|
64.
|
|
|
|
|
|
GUARD RANDALL
|
|
Wait! Hold it - it's on. Let's go.
|
|
|
|
ETHAN
|
|
Let's move!
|
|
|
|
ETHAN turns and looks at one of the FIREMEN behind them --
|
|
it's CLAIRE. CLAIRE and KRIEGER follow ETHAN/GUARD to
|
|
corridor.
|
|
|
|
|
|
114 INT. CIA STORAGE ROOM - DAY 114
|
|
|
|
CLAIRE quickly slips out of her fireman's jumpsuit,
|
|
revealing a business suit underneath. She clips an ID tag
|
|
to her breast pocket.
|
|
|
|
She pulls a piece of paper from her pocket, a computer
|
|
printout of a man's ID photo. She stares at the face,
|
|
studying it.
|
|
|
|
|
|
115 INT. CIA CAFETERIA - DAY 115
|
|
|
|
CLAIRE, carrying a cup of coffee and a muffin, looks for a
|
|
spot among the tables in the cafeteria of the headquarters
|
|
building.
|
|
|
|
She sees a MAN sitting alone, reading a newspaper. It's the
|
|
man whose picture she looked at in the storage room. She
|
|
sits next to him.
|
|
|
|
He looks up and gives her an acknowledging half smile, then
|
|
goes back to his paper.
|
|
|
|
He turns to pick up the paper and in the moment he is
|
|
facing the other way, CLAIRE pulls out a small vial
|
|
resembling a perfume sampler. She dumps the clear liquid
|
|
contents into his coffee. He turns back and hands her part
|
|
of the paper. CLAIRE smiles.
|
|
|
|
COFFEE MAN drinks up. CLAIRE stares at his shoulder
|
|
strangely. He notices.
|
|
|
|
She reaches out and flicks something off his shoulder
|
|
blade.
|
|
|
|
He smiles. But she hasn't flicked something off his
|
|
shoulder blade, she's flicked something onto it -- a little
|
|
piece of shiny gray metallic tape. CLAIRE leaves the table.
|
|
COFFEE MAN drinks up and leaves the table.
|
|
65.
|
|
|
|
|
|
116 INT. FIRE TRUCK - DAY 116
|
|
|
|
LUTHER stares at another one of his laptops, this one with
|
|
a blueprint of the inside of the building. A cursor begins
|
|
to flash in one of the rooms. LUTHER smiles.
|
|
|
|
LUTHER
|
|
Hi there.
|
|
|
|
|
|
117 INT. CIA CORRIDOR/GUARD STATION - DAY 117
|
|
|
|
A GUARD carrying an MP5, a handheld machine gun, leads
|
|
ETHAN and KRIEGER to a heavy metal door marked SERVICE.
|
|
|
|
GUARD
|
|
Air conditioning's through here!
|
|
|
|
They turn a corner, walking directly past --
|
|
|
|
-- COFFEE MAN, who's coming the other way. We stay with
|
|
|
|
COFFEE MAN.
|
|
|
|
|
|
118 INT. CIA LANGLEY - CORRIDORS - DAY 118
|
|
|
|
COFFEE MAN comes out of the cafeteria, walks down the
|
|
corridor. he goes to the restricted access door, taps the
|
|
control panel.
|
|
|
|
CIA ANALYST
|
|
William Donloe.
|
|
|
|
COFFEE MAN (ANALYST) walks past a GUARD desk and peers into
|
|
an optometric scanner and we suddenly remember where we've
|
|
seen COFFEE MAN before. He's the TECHNICIAN who works at
|
|
the secured computer terminal.
|
|
|
|
|
|
119 INT. CIA - SERVICE AREA - DAY 119
|
|
|
|
ETHAN and KRIEGER in the service area - preparing. ETHAN
|
|
putting the mask in a bag.
|
|
|
|
The GUARD returns.
|
|
|
|
GUARD
|
|
Where's the other guy?
|
|
66.
|
|
|
|
|
|
The GUARD moves towards ETHAN, who kicks back at him,
|
|
pushing him back to KRIEGER, who zaps the GUARD on the back
|
|
of the neck. He twitches and slumps to the ground,
|
|
unconscious. KRIEGER quickly grabs him around the neck.
|
|
|
|
ETHAN turns. Holding the GUARD'S head with one hand,
|
|
KRIEGER pulls a stiletto from the sheath in the back of his
|
|
belt with the other. He jabs it toward the base of the
|
|
GUARD'S skull -
|
|
|
|
-- but ETHAN is on him in a flash. He grabs KRIEGER's knife
|
|
arm shoving it up against the wall. Staring into KRIEGER'S
|
|
face in warning.
|
|
|
|
ETHAN
|
|
Zero body count.
|
|
|
|
KRIEGER
|
|
(a threat)
|
|
We'll see.
|
|
|
|
ETHAN
|
|
Time up.
|
|
|
|
ETHAN releases him and walks away.
|
|
|
|
|
|
120 INT. VERTICAL DUCT - DAY 120
|
|
|
|
The Guard is tied up, lying on the floor of the Service
|
|
Area Room. ETHAN and KRIEGER are below the open vent into
|
|
the duct system.
|
|
|
|
The first climb is straight up. KRIEGER cups his hands
|
|
under ETHAN'S foot and lifts him up into the duct as he
|
|
starts to climb.
|
|
|
|
|
|
121 INT. DUCT - DAY 121
|
|
|
|
ETHAN and KRIEGER crawl quickly through the ducts, moving
|
|
horizontally now. They reach a juncture and turn right.
|
|
|
|
ETHAN
|
|
- 2 - 3 - Toast, toast. Luther, I'm
|
|
going in. Don't disappoint
|
|
me...Krieger, from here on in,
|
|
absolute silence.
|
|
|
|
|
|
122 INT. DUCT - DAY 122
|
|
67.
|
|
|
|
|
|
ETHAN and KRIEGER reach a ventilator shaft in the duct. A
|
|
laser net protects the ventilator, red shafts of light
|
|
cris- crossing every which way. ETHAN looks down, through
|
|
the net.
|
|
|
|
He can see the computer room below and the top of the
|
|
TECHNICIAN'S head.
|
|
|
|
|
|
123 INT. DUCT - DAY 123
|
|
|
|
In the duct, ETHAN signals to KRIEGER, making a triangle of
|
|
his hands. KRIEGER wriggles forward and hands him a multi-
|
|
sided, pyramid shaped glass object.
|
|
|
|
ETHAN raises the pyramid and intercepts a portion of one of
|
|
the laser net's beams. The pyramid glows and we realise
|
|
what it is -- a prism.
|
|
|
|
The laser beam now captive in the prism, ETHAN carefully
|
|
moves it out of the centre of the ventilator shaft and
|
|
directs it toward another prism, clearing a path through
|
|
the shaft.
|
|
|
|
|
|
124 INT. CIA - COMPUTER ROOM - DAY 124
|
|
|
|
Up in the ceiling above it, one of the screws starts to
|
|
move in the ventilator shaft, unscrewing. When it appears
|
|
ready to drop out, a thin strip of metal snakes out from
|
|
between the bars of the shaft and edges up next to the
|
|
screw.
|
|
|
|
The screw drops out of its hole but it doesn't drop to the
|
|
floor, it zips over and clings to the side of the metal
|
|
strip with a gentle CLICK, as to a magnet.
|
|
|
|
The screw is pulled up, through the shaft. Now the whole
|
|
shaft moves, down, into the room, held by a hand.
|
|
|
|
It turns sideways and is pulled up, into the duct.
|
|
|
|
A rubber tube snakes down, through the hole, coming to a
|
|
stop near the thermostat, which says it's seventy-two
|
|
degrees. A gentle WHOOSH is audible as frosty air blows
|
|
through the tube, cooling the room.
|
|
|
|
|
|
125 INT. CIA COMPUTER ROOM - DAY 125
|
|
|
|
The TECHNICIAN defaults the security systems outside the
|
|
terminal room.
|
|
68.
|
|
|
|
|
|
126 INT. CIA - COMPUTER ROOM - DAY 126
|
|
|
|
It is eerily still in the locked-down computer room we saw
|
|
earlier. No-one is there, there's not a sound but for the
|
|
gentle HUM of the computer as it waits to be put to use.
|
|
|
|
Now ETHAN's head descends slowly into the room, his hair
|
|
falling in front of him.
|
|
|
|
At first it seems he's just poking his head in for a look,
|
|
but he keeps coming and coming -- first his head, then
|
|
shoulders, then waist, then knees, and finally we see his
|
|
ankles and understand.
|
|
|
|
He is lowered to stop in front of the thermometer and
|
|
temperature read out on the computer. Suddenly ETHAN is
|
|
lifted back up quickly to hang at ceiling height above the
|
|
computer as the ANALYST enters the room.
|
|
|
|
|
|
127 INT. CIA - COMPUTER ROOM - DAY 127
|
|
|
|
The TECHNICIAN crosses to the computer and sits down, a
|
|
stack of work to his right.
|
|
|
|
|
|
128 INT. CIA COMPUTER ROOM - DAY 128
|
|
|
|
The TECHNICIAN is working away at the computer. He pauses
|
|
and wipes some sweat from his forehead.
|
|
|
|
|
|
129 INT. CIA COMPUTER ROOM - DAY 129
|
|
|
|
With a strange look on his face, the TECHNICIAN looks up.
|
|
It's almost as if he senses ETHAN above him but instead --
|
|
|
|
TECHNICIAN
|
|
Oh, God.
|
|
|
|
-- he vomits.
|
|
|
|
He reaches for the garbage can and upchucks again. Puzzled,
|
|
sick and feeling another wave coming on, he drags himself
|
|
to his feet, hauls himself across the room and leaves.
|
|
|
|
|
|
130 INT. CIA - COMPUTER ANTEROOM - DAY 130
|
|
|
|
Even sick, the TECHNICIAN still thinks to re-activate the
|
|
alarm systems with a card-key. They HUM back to life
|
|
efficiently, a light flashing:
|
|
69.
|
|
|
|
|
|
INTRUSION COUNTERMEASURES ON
|
|
|
|
|
|
131 INT. CIA COMPUTER ROOM - DAY 131
|
|
|
|
ETHAN descends again, slowly but steadily, until he is at
|
|
the same height as the computer terminal to hang
|
|
horizontally in front of the computer.
|
|
|
|
A heavy velcro strap binds his ankles together, secured by
|
|
a rope that leads up into the ventilator shaft and through
|
|
the set of pulleys.
|
|
|
|
|
|
132 INT. DUCT - DAY 132
|
|
|
|
KRIEGER holds the rope, his jaw clenched, sweat breaking
|
|
out on his forehead.
|
|
|
|
|
|
133 INT. CIA - COMPUTER ROOM - DAY 133
|
|
|
|
Unfortunately, he's three feet away from it. He stretches
|
|
his arms but can't reach.
|
|
|
|
He blinks, unable to believe this. He curls himself into a
|
|
situp and looks up, into the shaft.
|
|
|
|
|
|
134 INT. DUCT - DAY 134
|
|
|
|
KRIEGER sees the predicament.
|
|
|
|
|
|
135 INT. CIA - COMPUTER ROOM - DAY 135
|
|
|
|
ETHAN gestures to him, pointing to the floor. Slowly,
|
|
KRIEGER drops him another few feet. Now ETHAN's lower than
|
|
the terminal and still three feet away from it.
|
|
|
|
He closes his eyes, summoning his strength and does another
|
|
situp, bringing himself up right in front of the terminal.
|
|
|
|
|
|
136 INT. FIRE TRUCK - DAY 136
|
|
|
|
In the fire truck, LUTHER, who is watching on the Visco
|
|
monitor, turns his head upside down to get a look at what
|
|
ETHAN sees.
|
|
|
|
He cups his hands around the microphone of his headset and
|
|
begins to whisper. We hear only the moist, airy sound of
|
|
his breath, not the words.
|
|
70.
|
|
|
|
|
|
LUTHER
|
|
Type this password: AW96B6. Return.
|
|
Go to the files menu, find the NOC
|
|
list file. Open "NOC List." Put
|
|
your diskette in. Double click on
|
|
the NOC list.
|
|
|
|
|
|
137 INT. CIA - COMPUTER ROOM - DAY 137
|
|
|
|
ETHAN's ear receiver WHISPERS ever-so-slightly. He reaches
|
|
out, to the upside down keyboard, cranes his head to see it
|
|
and starts typing, softly.
|
|
|
|
The computer HUMS, activated. ETHAN unbuttons his pocket,
|
|
withdraws a 3.5 disk and slides it gently into the floppy
|
|
drive.
|
|
|
|
The computer accepts it with a soft WHIR. ETHAN winces,
|
|
even that soft sound is deafening in these circumstances.
|
|
|
|
But no alarms go off.
|
|
|
|
|
|
138 INT. FIRE TRUCK - DAY 138
|
|
|
|
LUTHER cranes his head again to see the computer terminal
|
|
through ETHAN's trembling viewpoint. He WHISPERS more
|
|
commands.
|
|
|
|
LUTHER
|
|
Ok, good! It's scrolling. 0K, now
|
|
we're going to download. Edit menu.
|
|
Select "copy to disc". You're
|
|
downloading. When it's all green
|
|
it's done.
|
|
|
|
|
|
139 INT. CIA - COMPUTER ROOM - DAY 139
|
|
|
|
ETHAN types in the contends, presses enter and the screen
|
|
displays a comforting message:
|
|
|
|
DOWNLOADING
|
|
|
|
|
|
140 INT. FIRE TRUCK - DAY 140
|
|
|
|
LUTHER'S eyes widen as he gets his first look, on the Visco
|
|
monitor, of the specific information they're downloading.
|
|
The NOC list.
|
|
|
|
LUTHER
|
|
71.
|
|
|
|
|
|
Holy mother of God.
|
|
|
|
|
|
141 INT. DUCT - DAY 141
|
|
|
|
KRIEGER shakes with the strain of holding the rope. His
|
|
eyes suddenly widen as he sees something next to him.
|
|
|
|
It's a rat. KRIEGER stares. The rat stares back. Neither
|
|
moves. Puzzled by KRIEGER'S lack of response, the rat
|
|
crawls forward, inquisitive.
|
|
|
|
KRIEGER's eyes water, his nose twitches. He's about to
|
|
sneeze.
|
|
|
|
|
|
142 INT. FIRE TRUCK - DAY 142
|
|
|
|
LUTHER pulls himself together and WHISPERS another command
|
|
into the microphone.
|
|
|
|
LUTHER
|
|
You've done it. Eject it.
|
|
|
|
|
|
143 INT. CIA - COMPUTER ROOM - DAY 143
|
|
|
|
The 3.5 disk is ejected from the floppy drive. ETHAN
|
|
pockets it and signals to be raised.
|
|
|
|
Slowly, his body starts to move up. As it does, a bead of
|
|
sweat rolls down his nose, balling at the tip.
|
|
|
|
ETHAN ignores it. But below him, he sees the floor tiles,
|
|
four of them lit up under the wheels of the chair at the
|
|
computer terminal.
|
|
|
|
His eyes widen as he realizes something --
|
|
|
|
--the drop of sweat falls --
|
|
|
|
--and he catches it with his right hand.
|
|
|
|
|
|
144 INT. CIA - MEN'S - DAY 144
|
|
|
|
CIA ANALYST crosses corridor from restricted access door to
|
|
bathroom.
|
|
72.
|
|
|
|
|
|
A toilet FLUSHES, smashing the silence, and the TECHNICIAN
|
|
staggers out of the bathroom. He goes to the sink and
|
|
throws some water on his face. He's still unaware of the
|
|
piece of shiny metallic tape stuck to his shoulder blade.
|
|
|
|
He walks out of the bathroom, crosses corridor to door.
|
|
|
|
|
|
145 INT. FIRE TRUCK - DAY 145
|
|
|
|
On one of LUTHER'S laptops, the blinking cursor starts to
|
|
move down a corridor. LUTHER speaks into his microphone.
|
|
|
|
LUTHER
|
|
He's rolling. Get moving!
|
|
|
|
|
|
146 INT. CIA - COMPUTER ROOM - DAY 146
|
|
|
|
ETHAN is near the ceiling, but KRIEGER isn't pulling any
|
|
more. ETHAN looks up at him, wide-eyed and gestures to pull
|
|
him up. KRIEGER shakes his head no.
|
|
|
|
ETHAN gestures -- "WHAT?!"
|
|
|
|
|
|
147 INT. FIRE TRUCK - DAY 147
|
|
|
|
The cursor is halfway across the screen.
|
|
|
|
LUTHER
|
|
Get out of there -- get out of
|
|
there --
|
|
|
|
|
|
148 INT. CIA - COMPUTER ROOM - DAY 148
|
|
|
|
ETHAN still dangles. Holding the rope with one hand,
|
|
KRIEGER holds out his other, demanding something. He wants
|
|
the disk.
|
|
|
|
|
|
149 INT. CIA CORRIDOR - GUARD STATION - DAY 149
|
|
|
|
The TECHNICIAN makes his way back down the corridor, toward
|
|
the computer room.
|
|
|
|
|
|
150 INT. FIRE TRUCK - DAY 150
|
|
|
|
The blinking cursor is near the edge of the screen and
|
|
LUTHER is sweating.
|
|
73.
|
|
|
|
|
|
LUTHER
|
|
He's at the vault - get moving! 1
|
|
yellow, 2 yellows...Toast!
|
|
|
|
|
|
151 INT. CIA - COMPUTER ROOM - DAY 151
|
|
|
|
ETHAN, still hanging upside down, has refused. KRIEGER
|
|
demands again.
|
|
|
|
|
|
152 INT. CORRIDOR - GUARD STATION - DAY 152
|
|
|
|
The TECHNICIAN passes through the optometric scanner.
|
|
|
|
|
|
153 INT. FIRE TRUCK - DAY 153
|
|
|
|
LUTHER
|
|
You're not moving!
|
|
|
|
|
|
154 INT. CIA - COMPUTER ROOM - DAY 154
|
|
|
|
ETHAN is hoisted up.
|
|
|
|
|
|
155 INT. FIRE TRUCK - DAY 155
|
|
|
|
LUTHER
|
|
Phew! (to himself) NOC list.
|
|
|
|
|
|
156 INT. CIA - COMPUTER ROOM - DAY 156
|
|
|
|
ETHAN has the diskette in his mouth. KRIEGER leans down and
|
|
takes it. He drops the knife.
|
|
|
|
KRIEGER
|
|
Merci.
|
|
|
|
ETHAN
|
|
We're not outta here yet.
|
|
|
|
|
|
157 INT. CIA - COMPUTER ANTEROOM - DAY 157
|
|
|
|
The TECHNICIAN deactivates the alarm systems, swings the
|
|
door open and comes back into the room.
|
|
74.
|
|
|
|
|
|
He turns to close the door behind him and in so doing just
|
|
misses seeing ETHAN'S head as it is pulled back up into the
|
|
ceiling.
|
|
|
|
CUT TO:
|
|
|
|
|
|
158 INT. DUCT - DAY 158
|
|
|
|
ETHAN throws smoke cannisters and he and KRIEGER crawl
|
|
frantically back through the duct, the way they came.
|
|
|
|
|
|
159 INT. CIA LANGLEY - LOBBY - DAY 159
|
|
|
|
CLAIRE walks quickly past the GUARDS in the reception area
|
|
and out of the building.
|
|
|
|
|
|
160 INT. CIA - COMPUTER ROOM - DAY 160
|
|
|
|
The TECHNICIAN enters the room and shuts the door. He sees
|
|
the knife, picks it up, looks at it and then puts it down.
|
|
He resumes his work at the computer but when he punches up
|
|
his program, something prints out on his screen. Its
|
|
header:
|
|
|
|
KEYSTROKE LOG -- FILE DOWNLOAD
|
|
|
|
9.58 AM
|
|
|
|
And it goes on. The TECHNICIAN'S eyes widen in disbelief.
|
|
He spins back in his chair and reaches for the nearest
|
|
telephone.
|
|
|
|
|
|
161 INT. CIA - COMMUNICATIONS ROOM - DAY 161
|
|
|
|
In the communications room, tempers are running a little
|
|
high. KITTRIDGE is on his feet, berating his staff.
|
|
|
|
KITTRIDGE
|
|
Think, for Christ's sake, you guys
|
|
are mired in detail, open your
|
|
minds, it's gotta be staring us in
|
|
the face! What does Ethan Hunt
|
|
want?!
|
|
|
|
BARNES
|
|
Same thing he wanted in Prague!
|
|
Same thing he's always wanted! The
|
|
NOC list!
|
|
75.
|
|
|
|
|
|
KITTRIDGE
|
|
Okay!
|
|
|
|
Now it's coming together in KITTRIDGE'S mind and a horrible
|
|
thought occurs to him.
|
|
|
|
KITTRIDGE
|
|
And where is the list vulnerable?
|
|
|
|
There is nervous silence for a moment. Behind KITTRIDGE, on
|
|
the other side of the room, the phone starts to ring.
|
|
|
|
An AGENT gets up to answer it as a creeping fear pervades
|
|
the room.
|
|
|
|
KITTRIDGE
|
|
(joking)
|
|
Other than here.
|
|
|
|
Nervous laughter goes around the table. It fades. On the
|
|
other side of the room, the AGENT who answered the phone
|
|
turns, receiver in hand, face ashen.
|
|
|
|
He holds the phone out to KITTRIDGE, terrified, the bearer
|
|
of extremely bad news.
|
|
|
|
They all turn slowly and look at him. He holds the phone
|
|
out to KITTRIDGE, shaking slightly.
|
|
|
|
AGENT
|
|
It's for you.
|
|
|
|
KITTRIDGE
|
|
Kittridge, yup?
|
|
|
|
CUT TO:
|
|
|
|
|
|
162 EXT. VIRGINIA ROAD - DAY 162
|
|
|
|
It may be a HUMAN SCREAM or it may be a SIREN'S WAIL but it
|
|
echoes over the forest as a lone fire truck ROARS away from
|
|
the headquarters building, making its escape.
|
|
|
|
|
|
163 INT. FIRE TRUCK - MOVING - DAY 163
|
|
|
|
LUTHER, KRIEGER, CLAIRE and ETHAN, the victorious team, are
|
|
in the truck's cab. They exchange looks of massive relief.
|
|
But no one speaks. LUTHER, in particular, looks heavily
|
|
troubled by what they've just done.
|
|
76.
|
|
|
|
|
|
ETHAN looks at CLAIRE, who is jammed into the seat next to
|
|
him. She drops her head on his shoulder, exhausted.
|
|
|
|
KRIEGER, in the driver's seat literally and figuratively.
|
|
|
|
ETHAN just looks straight ahead and to CLAIRE.
|
|
|
|
CUT TO:
|
|
|
|
|
|
164 INT. COMMUNICATIONS ROOM - DAY 164
|
|
|
|
The TECHNICIAN who discovered the theft of the list sits at
|
|
one end of the now-empty conference table in the
|
|
communications room. KITTRIDGE sits in a chair beside,
|
|
staring gravely at him.
|
|
|
|
He gets up and walks to the door, where HARRY BARNES
|
|
hovers. KITTRIDGE lowers his voice, it's barely audible.
|
|
|
|
KITTRIDGE
|
|
(to Barnes)
|
|
You and I know about this -- and
|
|
that's where it stops. Understand?
|
|
It never happened.
|
|
|
|
BARNES
|
|
What about him...?
|
|
|
|
He gestures to the TECHNICIAN, who watches them anxiously.
|
|
|
|
KITTRIDGE
|
|
I want him manning a radar tower in
|
|
Alaska by the end of the day. Just
|
|
mail him his clothes.
|
|
|
|
He leaves. Barnes turns to the TECHNICIAN, who looks up at
|
|
him anxiously.
|
|
|
|
CUT TO:
|
|
|
|
|
|
165 EXT. LONDON - NIGHT 165
|
|
|
|
Night. This street is a row of nondescript hotels, one
|
|
after the other, with anonymous names like "Hotel Pomeroy,"
|
|
"Hotel Vincent," and "Hotel Berridge."
|
|
|
|
LONDON
|
|
|
|
|
|
166 INT. LONDON SAFE HOUSE - NIGHT 166
|
|
77.
|
|
|
|
|
|
This barely furnished flat is as nondescript as the row of
|
|
buildings it's in. ETHAN hurriedly digs through an
|
|
overnight bag until he finds what he's looking for -- the
|
|
now-battered bible he's used to contact Max. He flips
|
|
through the pages and crosses the room to his laptop, which
|
|
is powered up and waiting on the tiny desk.
|
|
|
|
LUTHER, alone in a chair across the room. is seriously
|
|
preoccupied. KRIEGER is sprawled-on a ratty sofa, hoisting
|
|
a lager and watching CNN.
|
|
|
|
CLAIRE is at the window staring out, anxious.
|
|
|
|
KRIEGER glances over the back of the sofa at ETHAN.
|
|
|
|
KRIEGER
|
|
You contacting your buyer?
|
|
(no answer)
|
|
Ethan?
|
|
|
|
From the desk, ETHAN glances up. Then goes back to the
|
|
computer. KRIEGER continues to glare over the sofa back.
|
|
|
|
KRIEGER
|
|
Ethan? Oh, 'scuse me Mr. Hunt?
|
|
|
|
ETHAN ignores him, working. His computer jams with static
|
|
as it connects to a BBS. The screen blinks and displays the
|
|
familiar Bible group service through which he's contacted
|
|
Max. When it asks him which chapter and verse for the
|
|
posting, ETHAN flicks through the Bible, looking for the
|
|
next code. He begins to type.
|
|
|
|
MAX -- Now might be an excellent time to interpret
|
|
Scripture face to face. Meet on TGV, noon tomorrow. Take
|
|
seat 27. Bring our mutual friend Job.
|
|
|
|
KRIEGER suddenly appears over his shoulder and knocks bible
|
|
out of Ethan's hands to the floor.
|
|
|
|
KRIEGER
|
|
You're not going to any meeting
|
|
without me.
|
|
|
|
ETHAN
|
|
My contact is extremely shy.
|
|
|
|
He goes back to the computer, his finger hovering over the
|
|
"ENTER" button.
|
|
78.
|
|
|
|
|
|
LUTHER and CLAIRE watch this growing conflict closely.
|
|
ETHAN sighs and stands up. KRIEGER pulls out the blue disk
|
|
he took from ETHAN in the computer room and waves it in
|
|
front of him.
|
|
|
|
KRIEGER
|
|
I don't think you're in any
|
|
position to give orders, do you?
|
|
Not while I'm holding this.
|
|
|
|
CLAIRE
|
|
Krieger.
|
|
|
|
KRIEGER
|
|
Stay out of this.
|
|
|
|
OR
|
|
Lachez - moi
|
|
|
|
OR
|
|
T'agueue
|
|
|
|
ETHAN
|
|
Don't you mean this?
|
|
|
|
He reaches into his briefcase and pulls out an identical
|
|
disk. He puts it back in his jacket pocket.
|
|
|
|
KRIEGER stares for a second.
|
|
|
|
KRIEGER
|
|
That's not it. That's not the list.
|
|
|
|
ETHAN
|
|
What's the matter, you don't know
|
|
this trick?
|
|
|
|
He holds the jacket pocket wide open, for KRIEGER to look
|
|
into. KRIEGER does. The pocket is empty.
|
|
|
|
ETHAN
|
|
(mock surprise)
|
|
Where did it go?! It's GONE!
|
|
|
|
ETHAN walks over to CLAIRE, reaches into the pocket of the
|
|
trousers she's wearing and pulls out the disk.
|
|
|
|
ETHAN
|
|
But not too far!
|
|
|
|
He palms the disk in his right hand.
|
|
|
|
ETHAN
|
|
79.
|
|
|
|
|
|
I know what you're thinking,
|
|
Krieger. You're thinking, back in
|
|
the computer room -- I was up here
|
|
- - he was down there -- . He was
|
|
carrying two discs.
|
|
|
|
While he talks, he rotates his hand, palm away from
|
|
KRIEGER. When he rotates it back, the disk is gone again.
|
|
He holds up his left hand. It's there now.
|
|
|
|
ETHAN
|
|
So hard to keep track of these
|
|
things.
|
|
|
|
ETHAN shows his hands -- now both are empty.
|
|
|
|
KRIEGER
|
|
(fuming)
|
|
Where is it?
|
|
|
|
ETHAN pats his pockets, pretending to be frantic.
|
|
|
|
ETHAN
|
|
I thought you had it! Do you
|
|
actually think I'd let you have the
|
|
NOC list?
|
|
|
|
KRIEGER just stares at him, shaken. CLAIRE laughs. KRIEGER
|
|
looks at her. He turns completely red. When he looks back
|
|
at ETHAN, ETHAN holds two disks -- one in each hand.
|
|
|
|
KRIEGER
|
|
Try any sleight-of-hand with my
|
|
money and I'll cut your throat.
|
|
|
|
He tosses his worthless disk into the trash can and storms
|
|
out, SLAMMING the door behind him. ETHAN picks up the Bible
|
|
and sees Drake Hotel.
|
|
|
|
CLAIRE
|
|
I'm so sorry. Krieger was my call.
|
|
I've never worked with him. I'm
|
|
sorry, Ethan.
|
|
|
|
ETHAN
|
|
We did what we had to do.
|
|
|
|
CLAIRE
|
|
I'm going to try and get some
|
|
sleep.
|
|
|
|
She leaves, closing the door behind her, leaving ETHAN and
|
|
LUTHER alone.
|
|
80.
|
|
|
|
|
|
ANGLE
|
|
ETHAN waits a moment, then casually
|
|
walks to the trash can, picks up
|
|
the disk KRIEGER threw out and
|
|
brushes it off carefully.
|
|
|
|
He replaces it, in the trash, with the blue disk from his
|
|
jacket pocket.
|
|
|
|
LUTHER
|
|
Krieger did have the NOC list.
|
|
|
|
ETHAN
|
|
Now I want you to hold onto it.
|
|
|
|
LUTHER
|
|
What makes you trust me?
|
|
|
|
ETHAN
|
|
Because if you knew what you were
|
|
getting into, you never would have
|
|
done it.
|
|
|
|
LUTHER
|
|
I'm not letting this list get out
|
|
in the open.
|
|
|
|
ETHAN
|
|
Exactly, that's your job. Tomorrow
|
|
on the train, you can't let this
|
|
list get out into the open. What's
|
|
the range of this thing?
|
|
|
|
LUTHER
|
|
It's hard to tell. I'm gonna have
|
|
to be close.
|
|
|
|
ETHAN
|
|
I'll get you close.
|
|
|
|
Claire opens the door.
|
|
|
|
CLAIRE
|
|
Ethan I need to talk to you.
|
|
|
|
ETHAN follows CLAIRE into her room where she shows him the
|
|
television screen.
|
|
|
|
INSERT - SCREEN
|
|
|
|
On the screen, an anchor in the CNN news center.
|
|
|
|
ANCHOR
|
|
81.
|
|
|
|
|
|
The unlikely setting...a farm in
|
|
the heartland of America...the
|
|
State of Wisconsin, where federal
|
|
agents claim to have broken the
|
|
brain trust behind an international
|
|
drug ring. For a report we go live
|
|
now to CNN correspondent (Joe
|
|
Jones) in the state capitol,
|
|
Madison. (Joe)...?
|
|
|
|
CNN reporter speaks to camera, on the steps of a
|
|
courthouse.
|
|
|
|
REPORTER
|
|
Authorities have identified the
|
|
couple as Margaret Ethan Hunt and
|
|
Donald Hunt.
|
|
|
|
BACK TO SCENE
|
|
|
|
ETHAN looks. CLAIRE behind him.
|
|
|
|
INSERT - SCREEN
|
|
|
|
An OLDER COUPLE, mid-sixties, exit the doors and are led
|
|
down the steps of the courthouse in shackles. The Reporter
|
|
and other news crews race up to the door.
|
|
|
|
REPORTER
|
|
Here they are now.
|
|
|
|
Camera follows the couple downstairs. Police roughly pull
|
|
them away from the news crews.
|
|
|
|
BACK TO SCENE
|
|
|
|
INSERT - SCREEN
|
|
|
|
REPORTER
|
|
They were apprehended this morning
|
|
by the DEA in a major sting
|
|
operation for the illegal
|
|
manufacture of the drug
|
|
methcathinone, known on the street
|
|
as "cat".
|
|
|
|
BACK TO SCENE
|
|
|
|
ETHAN
|
|
INSERT - SCREEN
|
|
|
|
VOICE (O.S.)
|
|
82.
|
|
|
|
|
|
Similar to methamphetamines, cat is
|
|
seen by officials as one of the
|
|
most powerful and dangerous drugs
|
|
in the world. Some thirty-four cat
|
|
labs have been seized so far, but
|
|
the recently widowed Mrs. Hunt and
|
|
her brother-in-law are believed to
|
|
be involved in a global drug
|
|
distribution network.
|
|
|
|
A public official exits the building. The reporter and
|
|
other news crews charge up to him.
|
|
|
|
REPORTER
|
|
Mr. Fairchild, agent Fairchild, a
|
|
comment please.
|
|
|
|
The image on the television changes to an interview with a
|
|
PUBLIC OFFICIAL who faces a bank of microphones.
|
|
|
|
PUBLIC OFFICIAL
|
|
I think it's sad, really. Farmers,
|
|
unless they're a conglomerate, are
|
|
always operating on a paper-thin
|
|
margin. I'm afraid what we have
|
|
here is a case of a naive and
|
|
lonely widow with a lot of
|
|
financial problems who chose to
|
|
make money through illegal means.
|
|
|
|
REPORTER
|
|
That was John Fairchild, the DEA
|
|
agent in charge of this
|
|
investigation. Officials tell me
|
|
that international law enforcement
|
|
agents are expected to arrive here
|
|
later today to question the Hunts.
|
|
This is Joe Jones, CNN, Love in
|
|
Madison, Wisconsin.
|
|
|
|
BACK TO SCENE
|
|
|
|
ETHAN
|
|
Kittridge...
|
|
|
|
CLAIRE
|
|
Bastard!
|
|
|
|
ETHAN switches TV off and paces away from it. His anger
|
|
erupts and he kicks the old filing cabinets, then picks up
|
|
a chair and throws it across the room so it smashes into
|
|
the wall. CLAIRE tries to get hold of him, but he shakes
|
|
her away.
|
|
83.
|
|
|
|
|
|
ETHAN
|
|
Don't...don't touch me...
|
|
|
|
CAMERA SWING PANS between them.
|
|
|
|
CLAIRE
|
|
What are you going to do?
|
|
|
|
ETHAN
|
|
(turns to her and
|
|
gestures at TV)
|
|
He's expecting my call.
|
|
(strides to door)
|
|
I'm going to the station...
|
|
(o/s at door)
|
|
And I'm going to call him.
|
|
|
|
|
|
167 EXT. LONDON SAFE HOUSE - RAIN - NIGHT 167
|
|
|
|
ETHAN comes out from a side street by Liverpool Street
|
|
Underground Station and crosses the road to the main
|
|
station. CLAIRE watches him from the window.
|
|
|
|
|
|
168 INT. LONDON TERMINUS RAILWAY STATION - NIGHT 168
|
|
|
|
ETHAN hurries down escalator. CAMERA MOVES IN on him. He
|
|
crosses to the TELEPHONE BOXES. He starts to dial a number.
|
|
|
|
CUT TO:
|
|
|
|
|
|
169 INT. CIA - COMMUNICATIONS ROOM - NIGHT 169
|
|
|
|
A light flashes and a phone BUZZES. KITTRIDGE in shirt and
|
|
tie, picks up. BARNES and several other AGENTS are
|
|
monitoring newscasts and engaged in various activities
|
|
related to the Hunt case.
|
|
|
|
KITTRIDGE
|
|
(picking up)
|
|
Kittridge.
|
|
|
|
ETHAN (O.S.)
|
|
I see you've been out visiting the
|
|
folks.
|
|
|
|
KITTRIDGE
|
|
(covers receiver)
|
|
It's Hunt.
|
|
|
|
What do you need for a pinpoint?
|
|
84.
|
|
|
|
|
|
(TO ETHAN)
|
|
Been watching a little T.V., have
|
|
you?
|
|
|
|
One of the technicians frantically scratches something on a
|
|
piece of foolscap and waves it at KITTRIDGE: "80 SECONDS".
|
|
|
|
KITTRIDGE nods.
|
|
|
|
|
|
170 EXT. PHONE BOX - LONDON - NIGHT 170
|
|
|
|
ETHAN
|
|
Hauling Mom off to jail in shackles
|
|
was an especially nice touch.
|
|
|
|
|
|
171 INT. CIA - COMMUNICATIONS ROOM - NIGHT 171
|
|
|
|
At the console, the number 44 flashes on the TECHNICIAN'S
|
|
screen.
|
|
|
|
TECHNICIAN
|
|
He's in England.
|
|
|
|
BARNES scratches England and 22 seconds on foolscap and
|
|
waves it.
|
|
|
|
KITTRIDGE
|
|
(covering receiver)
|
|
Get MI5.
|
|
|
|
The TECHNICIAN opens another line on his console and begins
|
|
patching through to Whitehall.
|
|
|
|
KITTRIDGE
|
|
Ethan, I want to reassure you that
|
|
my first order of business after
|
|
you come in is to get these
|
|
ridiculous charges against your
|
|
family dropped and eliminated
|
|
completely from their files. Come
|
|
in now, we can plea down the
|
|
charges against you as well.
|
|
|
|
The wall clock is thirty seconds and counting down. The
|
|
TECHNICIAN is frantically signalling KITTRIDGE to keep
|
|
talking. KITTRIDGE is momentarily stuck. Fortunately:
|
|
|
|
ETHAN (O.S.)
|
|
Can I ask you something, Kittridge?
|
|
|
|
KITTRIDGE
|
|
85.
|
|
|
|
|
|
Certainly Ethan.
|
|
|
|
|
|
172 INT. PHONE BOX - LONDON - NIGHT 172
|
|
|
|
ETHAN
|
|
If you're dealing with someone
|
|
who's crushed, stabbed, shot and
|
|
detonated five members of his own
|
|
IMF team, how devastated do you
|
|
think you're going to make him by
|
|
marching Ma and Uncle Donald down
|
|
to the county courthouse?
|
|
|
|
|
|
173 INT. CIA - COMMUNICATIONS ROOM - NIGHT 173
|
|
|
|
KITTRIDGE
|
|
I don't know, Ethan. Suppose you
|
|
tell me?
|
|
|
|
Click. ETHAN has hung up. KITTRIDGE looks hopefully to the
|
|
TECHNICIAN who says:
|
|
|
|
BARNES
|
|
Lost him. We needed three more
|
|
seconds.
|
|
|
|
Surprisingly KITTRIDGE is not as upset as he is puzzled.
|
|
|
|
KITTRIDGE
|
|
He wanted us to know he was in
|
|
London.
|
|
|
|
Clearly that's the question that KITTRIDGE is turning over
|
|
in his mind and he doesn't have a simple answer to it.
|
|
|
|
CUT TO:
|
|
|
|
|
|
174 EXT. PHONE BOX - LONDON - NIGHT 174
|
|
|
|
Close Digital clock. It reads 23.59. Angle widens to show
|
|
ETHAN looking at it with grim satisfaction. He opens the
|
|
door of the phone booth and almost SMACKS right into --
|
|
|
|
--the pale, weary, ghostlike figure of a man standing just
|
|
inches in front of him. Startled, ETHAN looks up, but what
|
|
he sees shakes him to the core.
|
|
|
|
The man is JIM PHELPS.
|
|
86.
|
|
|
|
|
|
ETHAN SHOUTS and almost falls back into the phone booth.
|
|
PHELPS leans against the door of the booth and smiles
|
|
weakly.
|
|
|
|
PHELPS
|
|
You're a hard man to catch up with.
|
|
|
|
PHELPS falls towards ETHAN. ETHAN tries to speak, but can't
|
|
even form words.
|
|
|
|
|
|
175 INT - RAILWAY STATION CAFE - DAY 175
|
|
|
|
ETHAN and PHELPS opposite one another in a booth, PHELPS
|
|
looking clammy and listing to one side. But the banter
|
|
seems friendly and very quick - two friends and close
|
|
colleagues able to follow one another's reasoning easily,
|
|
finishing each other's sentences:
|
|
|
|
PHELPS
|
|
..the next day I managed to drag
|
|
myself to the safe house, must've
|
|
just missed you..anyway, I checked
|
|
our aliases.
|
|
|
|
ETHAN
|
|
- and picked us up in the States -
|
|
|
|
PHELPS
|
|
- but you left before I could get
|
|
there and I could check just so
|
|
many places..
|
|
|
|
ETHAN
|
|
Yeah, smaller countries don't
|
|
computerize customs records -
|
|
|
|
PHELPS
|
|
- so I watched Europe. Once you
|
|
showed up in England..it was easy.
|
|
|
|
ETHAN
|
|
You knew I liked the rentals at
|
|
Liverpool Street.
|
|
|
|
PHELPS
|
|
Hey, I showed 'em to you!
|
|
|
|
ETHAN
|
|
I remember..
|
|
87.
|
|
|
|
|
|
PHELPS smiles warmly, has to steady himself to maintain an
|
|
upright position. He opens a medicine bottle and takes the
|
|
pain killers.
|
|
|
|
ETHAN
|
|
Jim, who do you think you're
|
|
kidding? A doctor's gotta look at
|
|
that. You can't sit up straight.
|
|
|
|
PHELPS
|
|
I can sit up straight. I just
|
|
can't..sit up straight very well.
|
|
It's not important! I saw who shot
|
|
me. Ethan, I saw the mole. It was
|
|
Kittridge.
|
|
(a fist into the table)
|
|
Kittridge!
|
|
|
|
PHELPS grips the sides of the table.
|
|
|
|
ETHAN
|
|
Kitteridge. Oh my god! Kittridge is
|
|
the mole?
|
|
|
|
PHELPS
|
|
Yeah.
|
|
|
|
ETHAN
|
|
How did Kittridge do it?..
|
|
|
|
|
|
176 EXT. CHARLES BRIDGE - FLASHBACK - NIGHT 176
|
|
|
|
A reprise of PHELPS'S narrative only now ETHAN'S telling it
|
|
and camera is showing the events as ETHAN sees they
|
|
actually happened.
|
|
|
|
ETHAN VO
|
|
- first he took care of Jack in the
|
|
elevator -
|
|
|
|
At the Embassy PHELPS sends the elevator to the top of the
|
|
building, watching it go and crush Kiefer.
|
|
|
|
ETHAN VO
|
|
- he shot you on the bridge -
|
|
|
|
On the Charles bridge PHELPS using the Visco glasses aims
|
|
the gun toward them, fires, cants the glasses and tosses
|
|
them into the Vltava River.
|
|
|
|
ETHAN VO
|
|
88.
|
|
|
|
|
|
- he must have had back up take out
|
|
Golitsyn and Sarah at the fence..
|
|
|
|
There on the embankment, in the night and fog, it is
|
|
KRIEGER who takes out GOLITSYN and SARAH thru the fence..
|
|
|
|
ETHAN VO
|
|
How did he do Hannah?
|
|
|
|
Here it is CLAIRE with back to camera who presses the
|
|
detonator and turns dreamily to face it, the explosion
|
|
brilliant behind her...
|
|
|
|
ETHAN VO
|
|
No. No. He could've taken out
|
|
Hannah himself.
|
|
|
|
PHELPS presses the remote detonator and the car blows..
|
|
|
|
|
|
177 INT. RAILWAY CAFE 177
|
|
|
|
ETHAN looking intently at him.
|
|
|
|
ETHAN
|
|
Why, Jim? Why?
|
|
|
|
Awkward moment.
|
|
|
|
PHELPS
|
|
..when you think about it, Ethan,
|
|
it was inevitable..no more Cold
|
|
War. No more secrets you keep from
|
|
everyone but yourself, operations
|
|
you answer to no one but yourself.
|
|
Then one morning you wake up and
|
|
find out the President of the
|
|
United States is running the
|
|
country - without your permission.
|
|
The son-of-a- bitch! How dare he?
|
|
You realize it's over, you're an
|
|
obsolete piece of hardware not
|
|
worth upgrading, you've got a lousy
|
|
marriage and sixty-two grand a
|
|
year. Kittridge, we'll go after
|
|
that no good son-of-a-bitch, big
|
|
time!
|
|
|
|
ETHAN
|
|
We don't have to, Jim. He'll come
|
|
after us.
|
|
|
|
PHELPS
|
|
89.
|
|
|
|
|
|
What's going to make him do that?
|
|
|
|
ETHAN
|
|
What he didn't get in Prague. The
|
|
NOC list.
|
|
|
|
PHELPS
|
|
Jesus, Ethan. Good for you.
|
|
|
|
ETHAN
|
|
A meeting tomorrow on the TGV,
|
|
enroute to Paris.
|
|
|
|
PHELPS
|
|
Tight security. No guns. Real plus.
|
|
|
|
ETHAN
|
|
If I supposedly deliver the NOC
|
|
list to Max, Max has agreed to
|
|
deliver Job to me. I'll have Claire
|
|
and Luther Stickell with me on the
|
|
train. Marcel Krieger will have
|
|
helicopter transport waiting in
|
|
Paris.
|
|
|
|
PHELPS looks away. Seems badly shaken.
|
|
|
|
ETHAN
|
|
Jim...?
|
|
|
|
PHELPS
|
|
I was sitting in a cafe waiting for
|
|
you and suddenly there she was,
|
|
standing in the rain just outside
|
|
the safe house..alive and
|
|
beautiful..and thinking I'm dead
|
|
and gone. God knows what she's had
|
|
to do forget about me to keep going
|
|
and get the job done, I..
|
|
|
|
PHELPS breaks off abruptly. Apparently some inner struggle
|
|
over this threatens to overwhelm him. Then, controlling it:
|
|
|
|
PHELPS
|
|
- no. She can't know about me. No
|
|
one can. Not til this is over.
|
|
There's too much at stake, Ethan.
|
|
|
|
ETHAN
|
|
You're probably right.
|
|
|
|
PHELPS
|
|
I usually am.
|
|
90.
|
|
|
|
|
|
ETHAN
|
|
Once we leave the safehouse, get in
|
|
there and crash. I'll call you from
|
|
Paris.
|
|
|
|
PHELPS
|
|
You got it.
|
|
|
|
ETHAN
|
|
And get a doctor.
|
|
|
|
PHELPS
|
|
Good luck.
|
|
|
|
|
|
178 INT. LONDON SAFE HOUSE - CLAIRE'S ROOM - NIGHT 178
|
|
|
|
The door to CLAIRE'S room in the safe house opens, throwing
|
|
a shaft of light over her form. ETHAN creeps in and closes
|
|
the door behind him.
|
|
|
|
It is approximately one a.m. . CLAIRE is huddled in the
|
|
corner. ETHAN enters and stands looking at her.
|
|
|
|
CLAIRE
|
|
What happened?
|
|
|
|
ETHAN
|
|
(walks towards her)
|
|
I sent the message to Max. We're on
|
|
for tomorrow.
|
|
|
|
CLAIRE
|
|
Okay...
|
|
|
|
ETHAN
|
|
(he steps towards her,
|
|
stops)
|
|
Is this the only way?
|
|
|
|
CLAIRE
|
|
Yes.......come here....viens pres
|
|
moi...
|
|
|
|
She draws him down by his hand to kiss her.
|
|
|
|
He kisses her again, more fully. She wraps an arm around
|
|
him and he holds onto the kiss. The room appears to revolve
|
|
around them.
|
|
|
|
CUT TO:
|
|
91.
|
|
|
|
|
|
179 EXT. PRIVATE HELIPAD - DAY 179
|
|
|
|
Suddenly it's bright, broad daylight, so bright it hurts
|
|
our eyes.
|
|
|
|
KITTRIDGE and BARNES step off a military helicopter,
|
|
blinking at the sunlight and hurry down the steps.
|
|
|
|
TWO AGENTS immediately flank KITTRIDGE at the bottom and
|
|
fall into step alongside, ready to brief him. One of them
|
|
holds out a small package with "for Job" written on it.
|
|
|
|
KITTRIDGE looks at him. He rips it open. A note inside
|
|
simply says:
|
|
|
|
TGV. LONDON TERMINUS
|
|
|
|
Noon.
|
|
|
|
KITTRIDGE looks at his watch. It's ten to twelve.
|
|
|
|
As he reads the note, something else falls out of the
|
|
envelope and CLUNKS to the ground.
|
|
|
|
He bends over, picks it up, and looks at it. Cradled in his
|
|
hand, we can't see what it is. But to him, it's very
|
|
interesting.
|
|
|
|
He steps up his pace, headed for the car.
|
|
|
|
KITTRIDGE
|
|
(to the Agent)
|
|
How long to the London Terminus?
|
|
|
|
AGENT
|
|
Twenty, twenty-five minutes.
|
|
|
|
KITTRIDGE
|
|
You've got ten. Move!
|
|
|
|
|
|
180 INT. WATERLOO STATION PLATFORM - DAY 180
|
|
|
|
The sleek front power car, looking like the nose of an SST,
|
|
gets its 25,000 volt charge from the overhead catenary.
|
|
|
|
The rear power car gets its jolt.
|
|
|
|
The TGV starts to move, pulling out of the station.
|
|
|
|
|
|
181 INT. BUSINESS CAR - MOVING - DAY 181
|
|
92.
|
|
|
|
|
|
The business car is similar to the one ETHAN saw on the
|
|
first train they look across Europe. It's crowded, maybe
|
|
THIRTY MEN and WOMEN in suits, most of them already
|
|
immersed in work on their laptops or talking on their
|
|
cellular phones.
|
|
|
|
One such woman is MAX in her seat, number 27. MATTHIAS and
|
|
the OTHER MAN, last seen dropping off ETHAN in Prague, sit
|
|
across from her, her laptop is on the table next to her, in
|
|
her briefcase.
|
|
|
|
MAX
|
|
How long until we reach the
|
|
Chunnel?
|
|
|
|
MATTHIAS
|
|
Twenty minutes.
|
|
|
|
|
|
182 INT. REAR CAR - MOVING - DAY 182
|
|
|
|
A MAN puts a cellular phone and a radio/cassette machine on
|
|
the bunk-bed. We only see his hands as he proceeds to take
|
|
the parts of a pistol out of the cassette machine and
|
|
assemble a wicked-looking pistol from the seemingly
|
|
innocuous electrical parts inside.
|
|
|
|
|
|
183 INT. BUSINESS CAR - MOVING - DAY 183
|
|
|
|
MAX is reading the Financial Times. MATTHIAS is looking out
|
|
of the window. A cellular phone rings inside MAX's
|
|
briefcase in front of MATTHIAS. MATTHIAS takes the phone
|
|
out.
|
|
|
|
MATTHIAS
|
|
Yes...
|
|
(holds phone out for Max)
|
|
It's him.
|
|
|
|
MAX
|
|
(into phone)
|
|
This wasn't what we discussed.
|
|
|
|
ETHAN (O.S.)
|
|
(on phone)
|
|
My apologies Max. Couldn't be
|
|
helped. There's a piece of black
|
|
cloth under your seat. Tear it away
|
|
and you'll find the disk.
|
|
93.
|
|
|
|
|
|
MAX reaches down and does as instructed, finding the
|
|
computer disk as promised. She hands it to Matthias who
|
|
strips off the velcro covering and slots it into the drive
|
|
next to the computer in the briefcase. He boots it up
|
|
quickly and turns the briefcase containing the computer
|
|
toward MAX for her to see.
|
|
|
|
One half of the screen, with the heading "CRYPTONYM AND
|
|
OPERATIONAL SPECS" is already jammed with information. The
|
|
blank second half of the screen acquires the title "TRUE
|
|
NAME," and information starts filling itself in rapidly --
|
|
names, addresses, identities.
|
|
|
|
As the two sides match up, a legend flashes:
|
|
|
|
IDENTITY MATCH
|
|
|
|
MAX
|
|
(back into phone)
|
|
Ha, dear boy! I do hope this
|
|
doesn't prelude a meeting in
|
|
private.
|
|
|
|
ETHAN (O.S.)
|
|
It doesn't, dear girl. as long as
|
|
you tell me where the money is.
|
|
|
|
MAX
|
|
The possibility alone is worth ten
|
|
million. Baggage car, rack 3.
|
|
Silver briefcase. Combination 314.
|
|
|
|
ETHAN (O.S.)
|
|
What about Job?
|
|
|
|
MAX
|
|
I wouldn't worry about him. Once
|
|
you've got the money -- he'll find
|
|
you.
|
|
|
|
|
|
184 INT. BUSINESS CAR - MOVING - ANOTHER ANGLE 184
|
|
|
|
LUTHER, three rows behind in another seat, is at work on a
|
|
laptop of his own. A mobile Nokia phone is beside it - red
|
|
light flashing.
|
|
|
|
|
|
185 INT. SECOND CLASS CAR - MOVING - ANOTHER ANGLE - DAY 185
|
|
|
|
KITTRIDGE and BARNES move through the second class car.
|
|
They turn around and start working their way back again.
|
|
94.
|
|
|
|
|
|
At the front, CLAIRE is getting desperate. A LARGE MAN
|
|
passes through the door behind her.
|
|
|
|
The LARGE MAN continues back, nearing KITTRIDGE and BARNES,
|
|
who are forced to step into empty seats on the side in
|
|
order to make room for him to pass. As they move by him,
|
|
their vision is momentarily blocked --
|
|
|
|
-- and CLAIRE gets up to follow.
|
|
|
|
She follows to the rear of the car and she passes through
|
|
the door and out of the car, after KITTRIDGE and BARNES
|
|
talk in doorway.
|
|
|
|
BARNES
|
|
Only four more cars.
|
|
|
|
KITTRIDGE
|
|
And if we don't find him - we'll
|
|
search the whole train again.
|
|
|
|
BARNES
|
|
What's Hunt doing on the TGV?
|
|
|
|
KITTRIDGE
|
|
High speed train. No-one gets on.
|
|
No- one gets off. High security.
|
|
Good place for a pass off to Max.
|
|
|
|
BARNES
|
|
But why tell us?
|
|
|
|
KITTRIDGE
|
|
He's putting on a show, Barnes.
|
|
|
|
BARNES
|
|
What kind of show.
|
|
|
|
KITTRIDGE
|
|
I don't know.
|
|
(looks at his wrist
|
|
monitor)
|
|
It didn't say on the tickets.
|
|
|
|
KITTRIDGE and BARNES go off back through the next coach.
|
|
CLAIRE follows into the same doorway and stops to speak
|
|
into her wristwatch to ETHAN:
|
|
|
|
CLAIRE
|
|
Ethan...Kittridge is on the train.
|
|
|
|
ETHAN
|
|
95.
|
|
|
|
|
|
Kittridge is Job. Max delivered.
|
|
How far is he from Luther?
|
|
|
|
CLAIRE
|
|
Two cars. Where are you?
|
|
|
|
ETHAN
|
|
You are my eyes. Stay with him.
|
|
|
|
She moves onto the next coach, going after KITTRIDGE and
|
|
|
|
BARNES.
|
|
|
|
|
|
186 INT. BUSINESS CAR - MOVING - MAX - DAY 186
|
|
|
|
On her computer screen in the business car, an ominous
|
|
message flashes.
|
|
|
|
LIST COMPLETE
|
|
MAX dials a number on her cellular
|
|
phone. She is calling Job.
|
|
|
|
MAX
|
|
(into phone)
|
|
He's in the baggage car.
|
|
|
|
PHELPS (O/S)
|
|
(assembling gun in
|
|
sleeping compartment)
|
|
I'll be there.
|
|
|
|
MAX hangs up and hands the phone to MATTHIAS who slots it
|
|
into the briefcase next to the computer. He dials a number
|
|
on the keyboard and pushes send. The computer emits a DIAL
|
|
TONE. Her computer flashes a message.
|
|
|
|
MODEM DENIED
|
|
|
|
MAX
|
|
What's the problem.
|
|
|
|
MATTHIAS
|
|
Connection denied.
|
|
|
|
MAX
|
|
Try it again.
|
|
|
|
MATTHIAS
|
|
It's not working.
|
|
|
|
MAX
|
|
Is something wrong with the phone?
|
|
96.
|
|
|
|
|
|
(Pause as he tries the
|
|
phone)
|
|
Well is something wrong with the
|
|
batteries?
|
|
|
|
MATTHIAS
|
|
I always check the batteries.
|
|
|
|
MAX
|
|
Run it through from the top.
|
|
|
|
|
|
187 INT. REAR CAR - SLEEPING COMPARTMENT - MOVING - DAY 187
|
|
|
|
The MAN assembling the gun CLICKS the last piece, the
|
|
silencer, into place.
|
|
|
|
|
|
188 INT. CAR - NEXT TO MAX'S CAR - MOVING - DAY 188
|
|
|
|
KITTRIDGE and BARNES looking - stop in doorway.
|
|
|
|
BARNES
|
|
Nothing but civilians, Gene.
|
|
|
|
KITTRIDGE
|
|
This is bullshit - we don't even
|
|
know what Max looks like.
|
|
|
|
BARNES
|
|
Maybe we don't have to know what he
|
|
looks like. If he's got that list,
|
|
he's going to want to check it. We
|
|
should be looking for laptops.
|
|
|
|
KITTRIDGE
|
|
Good idea.
|
|
|
|
|
|
189 INT. BUSINESS CAR - LUTHER - MOVING - DAY 189
|
|
|
|
LUTHER sees them coming. He smacks the laptop shut and
|
|
positions his jamming phone on the table to point at Max's
|
|
computer. He gets up, taking his computer with him, headed
|
|
for the rear of the car. A WAITER sees the phone and goes
|
|
after LUTHER with it.
|
|
|
|
WAITER
|
|
Excuse me, Sir, your telephone...
|
|
|
|
OTHER PASSENGERS' phones nearby go haywire. LUTHER looks to
|
|
MAX. Exits car.
|
|
97.
|
|
|
|
|
|
190 INT. BUSINESS CAR - MOVING - MAX - DAY 190
|
|
|
|
Her dial tone finally hits the static of a computer
|
|
connection and the message on her screen changes:
|
|
|
|
TRANSFER IN PROGRESS
|
|
|
|
MATTHIAS
|
|
It's working.
|
|
|
|
MAX
|
|
Phew! We've got five minutes...
|
|
|
|
|
|
191 INT. BUSINESS CAR - MOVING - DAY 191
|
|
|
|
LUTHER shuts himself in the bathroom. The OTHER MAN follows
|
|
him, tries the door and waits his moment. The OTHER MAN
|
|
bangs against the door. LUTHER braces himself against the
|
|
door.
|
|
|
|
|
|
192 INT. ANOTHER CAR - MOVING - DAY 192
|
|
|
|
CLAIRE walking through. She pauses to listen in her
|
|
earpiece.
|
|
|
|
ETHAN (O/S)
|
|
I've got the money. Meet me in the
|
|
baggage car.
|
|
|
|
She walks on.
|
|
|
|
|
|
193 INT. BUSINESS CAR - MOVING - DAY 193
|
|
|
|
KITTRIDGE and BARNES are looking at the people in the
|
|
Business Car behind MAX. CLAIRE passes them by heading for
|
|
the last executive coach to get to Club and Baggage Car.
|
|
She passes the OTHER MAN at the bathroom door. He follows
|
|
her.
|
|
|
|
KITTRIDGE
|
|
Get this door open.
|
|
|
|
KITTRIDGE and BARNES have seen CLAIRE go through MAX'S
|
|
Business Car and past the OTHER MAN at the bathroom door.
|
|
They follow, but suspect the locked bathroom door and stop
|
|
there to listen.
|
|
|
|
|
|
194 INT. LAST EXECUTIVE CAR - MOVING - DAY 194
|
|
98.
|
|
|
|
|
|
CLAIRE moves swiftly through the last car (after MAX'S
|
|
car). up into the Club Car and opens the door leading to
|
|
the BAGGAGE CAR. Goes in. The door slams shut.
|
|
|
|
KITTRIDGE
|
|
Hello, Luther. Where's Hunt?
|
|
|
|
LUTHER
|
|
Mr. Kittridge, the NOC list is
|
|
being modemed off the train.
|
|
|
|
KITTRIDGE
|
|
Where?
|
|
|
|
|
|
195 INT. REAR CAR - MOVING - DAY 195
|
|
|
|
CLAIRE enters a little breathless. Spotting PHELP'S profile
|
|
in the darkened car.
|
|
|
|
CLAIRE
|
|
Ethan's right behind me. Listen to
|
|
me Jim. Is it such a good idea to
|
|
kill him? We take the money. Ethan
|
|
takes the blame. No-one else has
|
|
seen you alive. No-one will believe
|
|
him.
|
|
|
|
ETHAN
|
|
Of course - I'm sorry to hear you
|
|
say that Claire.
|
|
|
|
CLAIRE
|
|
Ethan?
|
|
|
|
PHELPS
|
|
Yes. Ethan Hunt, darling. Remember
|
|
him?
|
|
|
|
Here PHELPS pulls out his assembled pistol.
|
|
|
|
CLAIRE
|
|
You knew about Jim?
|
|
|
|
PHELPS
|
|
Course he did. Just exactly when he
|
|
knew is something of a question.
|
|
Before or after I showed in London,
|
|
mind telling me, Ethan?
|
|
|
|
ETHAN
|
|
99.
|
|
|
|
|
|
Before London. But after you took
|
|
the Bible out of the Drake Hotel in
|
|
Chicago.
|
|
|
|
PHELPS
|
|
They stamped it, didn't they? Those
|
|
damn Gideons.
|
|
|
|
PHELP'S watch alarm goes off.
|
|
|
|
PHELPS
|
|
Two minutes til Krieger shows.
|
|
This'll have to be quicker than I'd
|
|
like. Certainly quicker than you'd
|
|
like.
|
|
|
|
CLAIRE
|
|
Ethan, if you knew about
|
|
Jim?..Why..
|
|
|
|
PHELPS
|
|
Why the masquerade? Why take the
|
|
risk? Well, Claire, you've asked
|
|
the question and you are the
|
|
answer.
|
|
|
|
ETHAN
|
|
I knew about Jim.
|
|
|
|
PHELPS
|
|
But, he didn't know about you. In
|
|
all fairness, Ethan, Claire was
|
|
never convinced her charms would
|
|
work with you. But I was supremely
|
|
confident - having tastes the
|
|
goods. "Thou shall not covet thy
|
|
Neighbour's wife", Ethan. Oh, Ethan
|
|
is in love with you, Claire, make
|
|
no mistake about it. And like all
|
|
the world's lovers, he's tortured
|
|
by the same, one pathetic question
|
|
- "does she feel the same way I
|
|
do?"
|
|
|
|
JIM turns to CLAIRE.
|
|
|
|
PHELPS
|
|
Well Claire do you? Have you been
|
|
exploiting his feelings or
|
|
returning them?
|
|
|
|
CLAIRE
|
|
100.
|
|
|
|
|
|
Jim - lets just get the money and
|
|
get out of here.
|
|
|
|
CLAIRE goes to ETHAN.
|
|
|
|
CLAIRE
|
|
The money Ethan.
|
|
|
|
ETHAN hands her the money.
|
|
|
|
ETHAN
|
|
You've earned it.
|
|
|
|
CLAIRE goes to Jim with the money.
|
|
|
|
PHELPS
|
|
Count it.
|
|
|
|
CLAIRE starts to count.
|
|
|
|
ETHAN
|
|
Tell me something Claire, that
|
|
night in Prague, was it you or Jim
|
|
that blew up the car and scattered
|
|
Hannah all over town?
|
|
|
|
PHELPS
|
|
Keep counting Claire.
|
|
|
|
CLAIRE
|
|
It was me. I did it.
|
|
|
|
CLAIRE hands PHELPS the money.
|
|
|
|
PHELPS
|
|
Satisfied?
|
|
|
|
CLAIRE
|
|
All ten million.
|
|
|
|
PHELPS
|
|
Fold it. Fold it tight.
|
|
|
|
ETHAN
|
|
Aren't you going to thank me Jim.
|
|
Ten million is better than six.
|
|
|
|
PHELPS
|
|
101.
|
|
|
|
|
|
Don't flatter yourself - six was
|
|
for Eastern Europe. You made a
|
|
lousy deal - ten for the world?
|
|
What is that? But I needed you for
|
|
the transfer with Max. I got a
|
|
little extra change; and you got a
|
|
little extra too.
|
|
|
|
PHELP'S watch alarm goes off.
|
|
|
|
PHELPS
|
|
Sorry Ethan. Times up. Say goodbye.
|
|
|
|
ETHAN
|
|
You're wrong about one thing. I'm
|
|
not the only one who's seen you
|
|
alive.
|
|
|
|
ETHAN throws JIM the Visco glasses.
|
|
|
|
KITTRIDGE
|
|
Good morning, Mr Phelps.
|
|
|
|
PHELPS and CLAIRE are stunned.
|
|
|
|
PHELPS
|
|
You son of a bitch.
|
|
|
|
PHELPS points the gun at ETHAN.
|
|
|
|
CLAIRE
|
|
Don't Jim.
|
|
|
|
PHELPS
|
|
Now we don't have to eliminate him?
|
|
You like that, don't you Claire?
|
|
Don't you?
|
|
|
|
CLAIRE
|
|
Yes.
|
|
|
|
ETHAN
|
|
Jim, it's over.
|
|
|
|
PHELPS
|
|
Ethan - I've always taught you,
|
|
nothing can be more dangerous than
|
|
the truth. It can kill you.
|
|
|
|
PHELPS shoots CLAIRE. Struggle between PHELPS and ETHAN.
|
|
The gun is lost. PHELPS beats ETHAN to the ground. His
|
|
watch alarm beeps rapidly. He turns, goes up the stairs
|
|
and...
|
|
102.
|
|
|
|
|
|
ETHAN goes to CLAIRE.
|
|
|
|
ETHAN
|
|
Claire...Hey...
|
|
|
|
CLAIRE
|
|
This stuff is so sticky.
|
|
|
|
ETHAN
|
|
Claire.
|
|
|
|
CLAIRE
|
|
It's all right, Ethan..you'll bring
|
|
me back...won't you...
|
|
|
|
ETHAN
|
|
I always have, Claire..
|
|
|
|
CLAIRE dies. ETHAN looks to ladder hatch and climbs ladder.
|
|
|
|
|
|
196 INT. REAR CAR - ENGINEER'S SECTION - DAY 196
|
|
|
|
PHELPS climbs up a ladder past an inert engineer slumped
|
|
over the control panel -- an obvious earlier victim of
|
|
PHELPS. PHELPS puts on a pair of clear goggles, reaches a
|
|
trap door and climbs through it --
|
|
|
|
|
|
197 EXT. ROOF OF TRAIN - DAY 197
|
|
|
|
-- halfway out onto the roof of the train. He reaches into
|
|
his jacket pocket and pulls out a suction cup with a handle
|
|
on the end of it. He SMACKS the suction cup down on the
|
|
roof and pulls himself the rest of the way out.
|
|
|
|
He pulls out a second suction cup and SMACKS it down on the
|
|
smooth surface of the train.
|
|
|
|
Now for the tough part. Using the suction cups, PHELPS
|
|
slowly pulls himself forward, a foot at a time, pulling and
|
|
replanting the cups as he goes.
|
|
|
|
He drags himself over the length of the final car, to the
|
|
back of the train, where the rear engine slants off
|
|
sharply, a window for the ENGINEER.
|
|
|
|
Half kneeling on the roof, PHELPS pulls out the clip from
|
|
his belt.
|
|
|
|
He looks up, scanning the sky behind the train. From out of
|
|
the fog, a helicopter approaches.
|
|
103.
|
|
|
|
|
|
PHELPS turns and looks ahead, in the direction the train is
|
|
going. In the distance, he can see the chunnel approaching
|
|
the tunnel under the English Channel. His eyes widen.
|
|
|
|
|
|
198 INT. HELICOPTER - DAY 198
|
|
|
|
KRIEGER is at the controls. He sees the approaching tunnel
|
|
as well.
|
|
|
|
|
|
199 EXT. ROOF OF TRAIN - DAY 199
|
|
|
|
PHELPS crawls like hell to get into position. Looking up,
|
|
he sees KRIEGER pointing frantically behind him. PHELPS
|
|
turns.
|
|
|
|
ETHAN is climbing out the trap door.
|
|
|
|
A cable and hook swing down from the helicopter, almost
|
|
touching the roof of the train. PHELPS crawls closer to it.
|
|
|
|
ETHAN, behind him, is in a far more precarious position.
|
|
Without goggles or suction cups, he has to use his fingers
|
|
to grab small holes on the roof.
|
|
|
|
He is flipped over by the wind, ending up facing the other
|
|
way. Loses his grip and is blown backwards over the roof.
|
|
|
|
|
|
200 INT. HELICOPTER - DAY 200
|
|
|
|
KRIEGER sees the Chunnel entrance approaching. He gestures
|
|
to PHELPS and tries to move the cable closer to him,
|
|
passing over PHELPS and then back to him.
|
|
|
|
|
|
201 EXT. ROOF OF TRAIN - DAY 201
|
|
|
|
PHELPS grabs the cable and is about to hook the cable onto
|
|
his belt, ETHAN slides into him and they both crash onto
|
|
the roof.
|
|
|
|
ETHAN grabs the cable out of PHELPS hand and clips it onto
|
|
the roof.
|
|
|
|
PHELPS and ETHAN struggle, but they are hurtling
|
|
dangerously closer to the chunnel entrance.
|
|
|
|
They're now right on top of the chunnel entrance.
|
|
|
|
|
|
202 INT. HELICOPTER - DAY 202
|
|
104.
|
|
|
|
|
|
KRIEGER sees the tunnel, only seconds away now. He paws at
|
|
the controls, jerking back desperately on a certain lever.
|
|
|
|
|
|
203 EXT. ROOF OF TRAIN - DAY 203
|
|
|
|
PHELPS kicks ETHAN and he falls off the far side of the
|
|
train. PHELPS falls off the near side and holding onto the
|
|
strap manages to pull himself back on.
|
|
|
|
-- The train ZOOMS into the tunnel --
|
|
|
|
-- AND THE HELICOPTER ROARS RIGHT IN BEHIND IT!
|
|
|
|
|
|
204 INT. BUSINESS CAR/TUNNEL - MOVING - DAY 204
|
|
|
|
As the train roars into the tunnel, the business car goes
|
|
nearly dark and the message on MAX'S computer screen
|
|
changes one last time. This time it says:
|
|
|
|
CONNECTION TERMINATED.
|
|
|
|
TRANSFER LOST.
|
|
|
|
MAX'S face falls.
|
|
|
|
MAX
|
|
Damn!
|
|
|
|
|
|
205 INT. REAR CAR - ENGINEER'S SECTION - DAY 205
|
|
|
|
Another CONDUCTOR races into the power car, past his inert
|
|
companion, and is shocked to see the copter right behind
|
|
the train. He grabs a radio and SCREAMS into it.
|
|
|
|
CONDUCTOR
|
|
No, no, it's IN the tunnel!
|
|
|
|
VOICE (O.S.)
|
|
Stop the train!
|
|
|
|
CONDUCTOR
|
|
It'll crash into us! Accelerate,
|
|
accelerate.
|
|
|
|
|
|
206 EXT. ROOF OF TRAIN - TUNNEL - DAY 206
|
|
105.
|
|
|
|
|
|
For a moment, we see no one. No ETHAN. No PHELPS. Moving
|
|
around to the other end of the car, we see where they've
|
|
gone.
|
|
|
|
They're dangling from either side of it.
|
|
|
|
PHELPS paws for one of the suction cups and pulls himself
|
|
back onto the roof of the train. ETHAN reaches for the
|
|
other cup.
|
|
|
|
The helicopter, fortunate that this tunnel is double track
|
|
and barely wide enough to accomodate it, pursues, KRIEGER
|
|
pushing it up to full speed again.
|
|
|
|
But it can't lift up high enough to go completely over the
|
|
train.
|
|
|
|
|
|
207 EXT. ROOF OF TRAIN - TUNNEL - DAY 207
|
|
|
|
PHELPS, nearing the back, manoeuvers himself to the
|
|
windshield of the rear power car, trying to grab the skid
|
|
of KRIEGER'S copter.
|
|
|
|
He doesn't see what's headed toward him, coming from the
|
|
other direction.
|
|
|
|
Another train.
|
|
|
|
At the last moment, PHELPS notices the reflection of the
|
|
oncoming train in the windshield and swings back onto the
|
|
roof of his train, barely avoiding getting creamed by it as
|
|
it blows by.
|
|
|
|
The helicopter avoids the oncoming train too -- and PHELPS
|
|
misses the skid.
|
|
|
|
KRIEGER tips the front of the copter, trying to decapitate
|
|
ETHAN with the rotor. PHELPS jumps onto the skid, but the
|
|
copter pitches so far forward the blade hits the top of the
|
|
tunnel. SPARKS and chunks of cement fly.
|
|
|
|
KRIEGER levels the chopper quickly. ETHAN uses the moment
|
|
to leap from the train onto the other helicopter skid.
|
|
|
|
PHELPS and ETHAN now hang on the skids, facing one another.
|
|
Crouching on the skid, ETHAN digs in his pocket and pulls
|
|
out --
|
|
|
|
-- a red and green piece of bubble gum.
|
|
|
|
PHELPS sees it and SCREAMS at KRIEGER, who scrambles
|
|
frantically for his gun.
|
|
106.
|
|
|
|
|
|
ETHAN
|
|
Red light, green light. Asta
|
|
Lasagna mother fucker.
|
|
|
|
ETHAN mashes the red into the green, slaps the gum onto the
|
|
copter's underbelly and turns away from it.
|
|
|
|
PHELPS kicks vainly at the gum, SCREAMING --
|
|
|
|
-- but the gum EXPLODES. The force of the blast rockets
|
|
ETHAN forward, he lands on the train's windshield.
|
|
|
|
The helicopter whirls and BASHES into the tunnel, veers
|
|
wildly, then pitches forward and down, smashing PHELPS
|
|
under the skid and EXPLODING in a giant fireball.
|
|
|
|
ETHAN, stuck on the windshield, can only watch as the
|
|
wreckage of the copter tumbles down the train towards him.
|
|
|
|
It stops just short of him, with its bent and broken rotor
|
|
blade barely missing his throat.
|
|
|
|
ETHAN lays his head against the windshield glass, utterly
|
|
drained.
|
|
|
|
|
|
208 INT. BUSINESS CAR/TUNNEL - MOVING - DAY 208
|
|
|
|
KITTRIDGE comes back into the business car and is joined by
|
|
BARNES. LUTHER, only slightly bruised, stands up next to
|
|
them and gestures to MAX and her laptop.
|
|
|
|
LUTHER
|
|
I think this is what you're looking
|
|
for.
|
|
|
|
MAX looks up, stunned. KITTRIDGE leans over and peers at
|
|
her screen. He just smiles and sits down next to her,
|
|
content to wait for her to speak.
|
|
|
|
When she finally does, she's almost charming.
|
|
|
|
MAX
|
|
My lawyers will have a field day
|
|
with this. Entrapment,
|
|
jurisdictional conflicts --
|
|
|
|
KITTRIDGE leans closer to her and lowers his voice, just as
|
|
friendly.
|
|
|
|
KITTRIDGE
|
|
Maybe we'll just keep the courts
|
|
out of this one.
|
|
107.
|
|
|
|
|
|
MAX
|
|
I'm sure we can find something I
|
|
have that you need.
|
|
|
|
KITTRIDGE
|
|
You know, I would love to try.
|
|
|
|
|
|
209 EXT. LONDON PUB - DAY 209
|
|
|
|
LUTHER sits on a high stool, his PowerBook next to him,
|
|
while he sips a beer. A television screen is featuring
|
|
follow-up coverage of yesterday's dramatic helicopter-train
|
|
wreck in the chunnel. Aside from emphasizing that it was
|
|
the work of a lone, crazed character in a helicopter who
|
|
was killed in the crash, there are comments about how
|
|
miraculous it was there were no other fatalaties. There are
|
|
intermittent sounds of aircraft taking off and landing,
|
|
announcements of arrivals and departures. ETHAN into shot.
|
|
He sits beside LUTHER.
|
|
|
|
LUTHER
|
|
Reach your folks?
|
|
(ETHAN nods)
|
|
How they feeling?
|
|
|
|
ETHAN
|
|
About what?
|
|
|
|
LUTHER
|
|
The official apology from the
|
|
Justice Department, the VIP
|
|
treatment, you know, the whole nine
|
|
yards.
|
|
|
|
ETHAN
|
|
Well my Mother was a little
|
|
confused about how the DEA could
|
|
mistake her and Uncle Donald for a
|
|
couple of dope smugglers in the
|
|
Florida keys.
|
|
|
|
LUTHER picks up his beer.
|
|
|
|
LUTHER
|
|
(Laughs and with a
|
|
British accent)
|
|
Cheers.
|
|
|
|
They drink.
|
|
|
|
ETHAN
|
|
Here's to you, Luther.
|
|
108.
|
|
|
|
|
|
(clink glasses)
|
|
To being off the disavowed list.
|
|
|
|
LUTHER
|
|
Hey, I'm the flavour of the month!
|
|
|
|
ETHAN
|
|
You're more than that, Luther. They
|
|
were mistaken about you and they're
|
|
trying to show you they know it.
|
|
They want you back in.
|
|
|
|
LUTHER
|
|
Sure. They want me back in so I
|
|
won't break in! They still can't
|
|
figure out how we did it.
|
|
|
|
ETHAN
|
|
You didn't tell 'em at the
|
|
debriefing?
|
|
|
|
LUTHER
|
|
I figured I'd let 'em reinstate my
|
|
back pay, give me a promotion,
|
|
check out my office at Langley and
|
|
then, maybe, talk about it.
|
|
|
|
ETHAN
|
|
(laughing)
|
|
It's all one big negotiation, isn't
|
|
it?
|
|
|
|
LUTHER
|
|
Why don't you come back with me?
|
|
|
|
ETHAN
|
|
Just don't know why I'd be doing
|
|
it.
|
|
|
|
LUTHER
|
|
You really liked Phelps, didn't
|
|
you?
|
|
|
|
ETHAN
|
|
He was a good guy for a long, long
|
|
time. Just - not long enough.
|
|
(looks up) Gotta catch
|
|
my)
|
|
flight..(rising) So. How's it feel
|
|
being a solid citizen again?
|
|
|
|
LUTHER
|
|
109.
|
|
|
|
|
|
Oh man...I don't know. I'm gonna
|
|
miss being disreputable.
|
|
|
|
ETHAN
|
|
Well, Luther - if it makes you feel
|
|
any better I'll always think of you
|
|
that way.
|
|
|
|
The two men understand one another and LUTHER will say no
|
|
more. The two exchange slight gestures of farewell and in a
|
|
moment ETHAN disappears from the bar, leaving a
|
|
contemplative LUTHER looking after him.
|
|
|
|
|
|
210 INT. PLANE - NIGHT 210
|
|
|
|
ETHAN HUNT slumps down in his scat, dosing. A FLIGHT
|
|
ATTENDANT makes her way down the aisle, holding a case
|
|
filled with movie cassettes. She stops before a lady
|
|
passenger.
|
|
|
|
FLIGHT ATTENDANT
|
|
Would you like to watch a movie,
|
|
Miss Clarke?
|
|
|
|
She then stops before ETHAN.
|
|
|
|
FLIGHT ATTENDANT
|
|
Excuse me, Mr. Hunt. Would you like
|
|
to watch a movie.
|
|
|
|
ETHAN
|
|
No, thank you.
|
|
|
|
FLIGHT ATTENDANT
|
|
Would you consider the cinema of
|
|
the Caribbean?
|
|
|
|
ETHAN just stares at her. This couldn't be what it's
|
|
sounding like.
|
|
|
|
FLIGHT ATTENDANT
|
|
Aruba, perhaps?
|
|
|
|
The camera moves into ETHAN's face. They found him. They
|
|
want him back. He looks up at her and.....
|
|
|
|
CUT TO BLACK.
|
|
|
|
THE END
|
|
|