diff --git "a/scripts/Mission Impossible.txt" "b/scripts/Mission Impossible.txt" new file mode 100644--- /dev/null +++ "b/scripts/Mission Impossible.txt" @@ -0,0 +1,5984 @@ + 1. + + + + +1 INT. KIEV APARTMENT - NIGHT 1 + + We're in a large closet. JACK KIEFER, an athletic American + in his late thirties wearing a headset, is wedged into a + corner, staring at a television screen. + + The television shows a surveillance view of the living room + that lies outside the confines of the closet. The TV image + is in black and white. JACK shifts, trying like hell to get + comfortable but he's been there a while + + ON THE SCREEN + + A bare bulb shines down on the contents of a shabby hotel + room. Directly under the bulb a man, GENNADY KASIMOV, sits + in a straight backed wooden chair in his blood-stained T- + shirt. There are a couple of THUGS and a stray HOOKER in + the room behind him. A legend: KIEV. + + KASIMOV is sobbing. Uncontrollably. A MAN enters the room, + ANATOLY, an imperious Russian in his forties, a Russian + godfather. The THUGS and HOOKERS are ushered out. + + ANATOLY looks down at KASIMOV piteously and urges him to go + and sit by him in a chair he picks up for him. KASIMOV does + as he is bid, looking gratefully up at ANATOLY. They speak + in Russian which is subtitled. + + ANATOLY + Kasimov, Kasimov, good that you + called us. + + KASIMOV + (sobbing) + I don't remember what happened! We + were at the bar, drinking, laughing + -- having fun. + + ANATOLY gets up out of the chair and goes to a bed across + the room. A WOMAN lies half under the sheets. She's lying + in an unnatural position on the bed, and the sheets are + smeared with blood. She's dead. ANATOLY lifts her eyelid. + + KASIMOV + I don't even know how I got here. I + swear, Anatoly, I never touched + her! I didn't lay a finger on her. + + ANATOLY moves away from the WOMAN. + 2. + + + ANATOLY + Kasimov. Don't flounder. + +IN THE CLOSET + +JACK, impatient, checks his watch. + + JACK + Jesus, she's been under too long. + Come on, come on! + +ON THE SCREEN + + KASIMOV + You're the only one who can help + me. + +Desperately he tugs at ANATOLY'S jacket. But ANATOLY hits +his hand away and smacks him around the head. + +IN THE CLOSET + +JACK reacts. + +ON THE SCREEN + +ANATOLY bends close to KASIMOV. + + ANATOLY + C'mon, c'mon, tell the + truth...c'mon. + + KASIMOV + They'll kill me. + +ANATOLY paces up the room, away from KASIMOV. + + ANATOLY + You asked for my help. You asked + for my help...come on... + + KASIMOV + You're right, of course. + +IN THE CLOSET + +JACK leans forward. + + JACK + The name pal...give us the name. + +ON THE SCREEN + 3. + + + KASIMOV + The contact in Minsk..the contact + in Minsk..works in a travel agency. + + IN THE CLOSET + + JACK + Come on! + + ON THE SCREEN + + ANATOLY + Come on! + + KASIMOV + His name is.....Dimitri Miediev. + + ANATOLY + Dimitri Miediev...Dimitri + Miediev... + + IN THE CLOSET + + JACK + Got him. + + ON THE SCREEN + + Back on screen, ANATOLY places a hand on KASIMOV'S shoulder + as if he had just anointed him. + + IN THE CLOSET + + In the closet, JACK types the name into a computer and + cross checks -- "MIEDIEV" comes up, then "posting/American + consulate/Kiev." + + JACK turns and nods to a WHOREHOUSE WAITRESS in costume in + the closet next to him, dressed in traditional Russian + tunic and virtually no bottom. She quickly leaves. + + +2 INT. SHABBY ROOM - NIGHT 2 + + We enter the room for the first time as the WAITRESS does. + She's carrying a tray with a bottle of vodka and two shot + glasses. + + ANATOLY + Now, we drink. + + He pours them out and hands one to KASIMOV. + 4. + + + ANATOLY + To friends. + + KASIMOV + Yes, Anatoly, yes. + + JACK + Cheers. + +He drinks. He blinks. Something felt funny about that. +Dizzied, KASIMOV swoons and passes out on the floor. +ANATOLY moves to the closet door and opens it. + +IN THE CLOSET + +ANATOLY reaches up to his face -- + +--and tears away a mask of flesh. He's no middle aged +Russian mobster, he's ETHAN HUNT, an American in his early +thirties. He gestures to KASIMOV contemptuously. JACK hands +ETHAN a hypodermic kit and he goes quickly back into the +room. + + ETHAN + (in English now) + Get rid of this scum. + +Immediately, there is activity, and PEOPLE everywhere. TWO +OTHERS come into the room and carry KASIMOV out. + +ETHAN goes quickly to the body of the dead woman. He cheeks +the pulse in her neck, shines a penlight in her eye. He +strips the adrenalin kit and jabs the long needle into the +dead woman's thigh. He checks her pulse again, checking a +stopwatch. In about ten seconds, the woman's eyes open. + +CLAIRE is her name, a French woman of thirty or so. She +half rolls over, GROANS, and wipes some of the blood from +her mouth. + + CLAIRE + Did we get it? + + ETHAN + We got it. On your feet. + + CLAIRE + I want to sleep. Can I sleep here. + + ETHAN + Walk, just walk. Start walking. + + CLAIRE + 5. + + + I'm walking. + + ETHAN + Talking's good, walking's better. + + CLAIRE + Sleeping's better. + +Meanwhile, MEN in overalls take apart the room. The ceiling +lifts right off the walls, and the walls themselves start +to come down, revealing the "hotel room" to be an elaborate +set in the middle of an empty warehouse. + +JACK comes into the room from the closet. He hands CLAIRE +her jewelry, including a watch and a wedding ring. ETHAN +stops what he's doing, noticing. She looks up at him +questioningly. + + CLAIRE + Are you all right Ethan. What's + wrong with you? + + ETHAN + If you're gonna do this again + Claire, It's not gonna be on my + watch. + + CLAIRE + Oh yeah? + +JACK comes into the room from the closet. He hands CLAIRE +her jewelry, including a watch and a wedding ring. ETHAN +stops what he's doing, noticing. She looks up at him, +questioningly. + + JACK + Claire. + + ETHAN + Jack. + +She almost unconsciously slips the wedding ring onto her +finger. ETHAN notices. He turns and SHOUTS to the room at +large. + + ETHAN + IS THERE ANY PARTICULAR REASON + WE'RE NOT + +OUT OF HERE YET?! + + JACK + Just waiting for you, tubs. + 6. + + + He walks across the room and out the door. CLAIRE, worried, + clutches her hands together, glancing down at her wedding + ring. + + We move in on it -- + + CUT TO: + + +3 INT. JET - DAY 3 + + -- and come out on another wedding ring, this one on a + MAN's finger. One of several he's drumming on an arm rest + in the plush first class cabin of a commercial airliner. He + shoves some money into his wallet, and as he does so we + catch a fleeting glimpse of a photograph of CLAIRE. + + The pilot's voice makes an announcement. + + VOICE (O.S.) + Ladies and gentlemen, we have + leveled off at our cruising + altitude of thirty-eight thousand + feet-and we should be arriving in + Prague right on schedule. + + A FLIGHT ATTENDANT makes her way between the seats, passing + out menus. + + FLIGHT ATTENDANT + Would you like to watch a movie Mr + Rosen? + + A passenger takes one. The ATTENDANT continues on. + + FLIGHT ATTENDANT + (CONT'D) + Would you like to watch a movie Mr + Phelps? + + The MAN with the wedding ring looks up. JIM PHELPS is in + his mid-forties, good-looking, intense. He's a tired man, + and not just now, it's a profound fatigue. He looks up at + the ATTENDANT and smiles warmly. + + PHELPS + No, I prefer the theatre. + + A look crosses the FLIGHT ATTENDANT'S face; her tone + becomes stilted. + + FLIGHT ATTENDANT + 7. + + + Would you consider the cinema of + the Ukraine? + + PHELPS + Perhaps you'd choose one for me. + +The ATTENDANT turns and walks away. PHELPS sits back, +shakes a cigarette out of a pack, and taps it nervously on +the armrest. + +AT THE FRONT OF THE CABIN. + +The FLIGHT ATTENDANT opens a case loaded with video 8 +cassettes of feature films. She opens a panel in the top of +the case and withdraws a tape hidden back there. + + BACK AT PHELPS' + SEAT + +The ATTENDANT returns with the tape and hands it to PHELPS. +He takes it without a word and she moves on. + +PHELPS reaches down and turns a lever on the support +between his seat and the empty one beside him. He flips up +a small movie screen and angles it toward himself, away +from the other passengers. He puts on a headset, opens a +door in the armrest, and puts the tape in. + +He presses play. + +ON THE TAPE, + +the image of a man comes on. EUGENE KITTRIDGE is fortyish, +but seems permanently stuck in the Nixon era -- horn rimmed +glasses, short short haircut, rather be caught dead than +tieless. But if he catches your eye, he will never, ever +look away. He's seated at a desk, looking into the camera. + + KITTRIDGE + (on the tape) + Good morning, Mr. Phelps. The man + you're about to see is Aleksander + Golitsyn -- + +The screen winks and shows an image of GOLITSYN, a burly +man in his forties. The image is herky-jerky videotape, +presumably taken from a concealed camera as GOLITSYN walks +down a foreign street. + + KITTRIDGE (O.S.) + -- a former KGB Line X officer now + working the international black + market selling intelligence. + 8. + + + This morning, we learned that Golitsyn has stolen one half + of a CIA NOC list, the list of our non- official cover + agents working in Eastern Europe. + + The screen shows an image of what such a list might look + like, code names and other information scrolling by on a + computer screen at high speed. + + KITTRIDGE (O.S.) + For security reasons, the NOC list + is divided into two encoded halves. + Golitsyn already has the cryptonym + portion, which contains agent code + names and targeting areas. This + portion is useless unless combined + with the second half -- the true + name list that is kept in the CIA + station in our Embassy in Prague. + + The Embassy itself comes on screen, a beautiful old + building at the base of the Charles Bridge, which spans the + Vltava River. + + KITTRIDGE (O.S.) + We believe Golitsyn plans to steal + the true name list at an Embassy + function tomorrow night. Your + mission, should you decide to + accept it, is to obtain + photographic proof of the theft, + apprehend those involved, and + return the stolen list. I don't + have to stress the importance of + this matter, Jim. We're keeping it + internally black. Because of its + urgency, I've already sent to + Prague a team selected from your + usual group. + + Still photographs come on screen, some of which we're + already seen -- JACK KIEFER, CLAIRE and ETHAN. + + KITTRIDGE (O.S.) + Ethan Hunt will of course be your + point man, as usual. He's in Kiev; + we're getting word to him now. + + +4 INT. JET - DAY 4 + + PHELPS sits back in his seat, closes his eyes, and rubs his + tired brow. KITTRIDGE himself comes back on the tape. + 9. + + + KITTRIDGE (O.S.) + As always, should you or any member + of your IM force be caught or + killed, the Secretary will disavow + all knowledge of your actions. This + tape will self- destruct in five + seconds. Good luck, Jim! + + PHELPS inhales deeply -- + + -- the tape in the armrest starts to smolder, sending up a + plume of wispy smoke -- + + -- and PHELPS exhales, concealing the plume in a cloud of + cigarette smoke. + + CUT TO: + + +5 EXT. PRAGUE SAFE HOUSE - DAY 5 + + SARAH and HANNA, a German woman in her mid-thirties enter. + Another legend: + + PRAGUE + + +6 INT. SAFE HOUSE - PRAGUE - DAY 6 + + The IMF team's safe house is a sparsely furnished Prague + apartment with a panoramic view of the city. + + The IMF team is scattered around the room. Sketches, pads, + overfilled ashtrays and equipment are strewn everywhere. + JACK and SARAH seated next to each other - JACK + demonstrating the VISCO glasses to her. CLAIRE is seated + opposite JACK at the computer. JIM and ETHAN are in the + kitchen. HANNAH taking a roll of black-out curtain through + the room. + + JACK + Look to your right, then back to + me. There's a camera built right + into the bridge. Whatever you see + it sees and transmits it back here. + Can you hear me? + + SARAH + Of course I can hear you. + + JACK + 10. + + + No, in your...ear piece. You have a + lovely smile (eyes). Can you hear + me now? + + SARAH + Loud and clear. + + JACK + What's going on? + + SARAH + I don't know. + + JACK + Why don't you take a look? + + SARAH + Jack...that's spying. + + JACK + That's what we do isn't it? + + SARAH + Jack you're so wicked. + + JACK + Too wicked to have a drink later? + + SARAH + I think I might just take that + look. + +ETHAN and JIM PHELPS are in a heated conversation. + + ETHAN + Yeah, well, Jim, fact is I've got + more than ninety days leave coming. + + PHELPS + A hundred and sixty-seven, I think + it is. Take it all, if you want. + After this one. + + ETHAN + I thought I'd take some now. + + PHELPS + (quietly, to Ethan) + What the hell's made you decide to + take your leave at the worst + possible time? Claire's in a weird + mood too. + 11. + + + ETHAN + Oh? What's the problem? + + PHELPS + I don't know, I had to go to + Chicago again. You were in Kiev. + You tell me. + + ETHAN + Tell you what? + + PHELPS + When you started noticing your + short term memory loss. What the + problem was you and Claire had in + Kiev? + + ETHAN + What problem? + + PHELPS + (laughs) + Ah, God, forget it. What are we + talking burnout here? + + ETHAN + I guess. + + PHELPS + Ethan, you can't burn out. + + ETHAN + Why not? + + PHELPS + Because I can't afford it. And + because you'd burn up before you'd + burn out. + +CLAIRE, who is at the computer behind them, somehow seems +to be the reference point in the following exchange: + + ETHAN + How was Chicago? + + PHELPS + 12. + + + Wonderful. Ran into a convention of + auto dealers at the Drake Hotel. + You hear the one about the + astronaut who comes back from the + first manned flight to Mars after + two years? His wife's got a year + old kid. So he says "All right. Who + was it? My friend Harry?" She says + no. "Oh, it was my friend Sammy." + She says it wasn't Sammy. + + "Oh, I suppose it was my friend Lou." "No, what's the + matter, don't you think I have any friends of my own?!" + + PHELPS laughs. ETHAN doesn't. The back of CLAIRE'S head is + in his line of sight. + + PHELPS + Boy, you really are grim. Come + here, take a look. + + 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 + \ No newline at end of file