"MISSION IMPOSSIBLE II" (2000)

The flight crew now wearing their oxygen masks.

Pan, pan, pan, Denver Center. This is . Trans Pac Plight two-two-zero-seven, 747 heavy. We are not reading you. We're unable to maintain cabin pressurization. We have initiated a descent to one six thousand.

The Copilot is working on the planes altitude when his hanjl_ slip off the controls. His eyes flutter, then:

CO-PILOT ° Captain, I don't..can‘t..

He passes out. The Captain, HUGH STAMP, turns to verify that the relief pilot is also unconscious at the controls.

He then removes his oxygen mask, sets the auto pilot, inputting numbers to slow the plane and descend. as the craft tilts |

The flight attendants are pulling on jum suits. Stamp exéryes from the cockpit. °

Ethan returns. Novakavich beckons to him. zthan sits. Ga .ing around, Novakavich whispers conspiratorially:

REVISED - 4/19/99 - BILE $

Nekhorvich’s eyes narrow.

With a lightning swift move Ethan breaks Nekhorvich’s neck. ') ETHAN

You really

He grabs the satchel.

Wallis, hold onto it.

Wallis slashes the satchel handle open, takes the satchel f£6r Ambrose. He peels off the latex mask. revealing SEAN AMBRO&Y:

ETHAN (cont’d)

He tears off the vocal oscillator at his Adam's apple. cleexa ‘his throat, now as Ambrose:

pull the N02 tank and Gump ic, i potential evidance..

(the ‘captain’ inte shot) bl All dons, chief... . ”

_ => dem’t got too far ahead of me now - Ulrich has rolled back the carpet coves en access panel just — beneath them that leads to the belly of the plane. Stamp welag dack the panel, hops into the compartment below which is four - walis of electronic equipment. Stamp kneels and slides baci the

floor hatch. The wind howls, puffa of cloud sip by beneath shan. AS they descend into the belly:

(CONTINJED,

4/14/99 6. - CONTINUED: (2) . "49

They don goggles and, with Ambrose in the lead, the team leaps, ene after another from the hatch, sailing off into the sky.

An automated voice repeats in an ominous monotone:

VOICE . Terrain, terrain. Pull up, pull tp.

The Copilot stirs. He blearily rouses himself just in time «1 see:

A mountain rushing toward him. As mountain meets airplane, tne. frame is filled with fire, but when camera polls back from tne fireball, it is in fact no more than a match bead filling fee which, ignited, lights a fuse.. ° |

The MI theme msic kicks in, the main credits roll to:

EX? FACE OF MOUNTAIN (DAY) -

For a moment it might be thought part of the same plane crashed but when Ethan Hunt climbs into frame widens and tilts dowm, revealing more of where he's than where he’s going. Aside from the fact that he’s midst of free-climsbing what is easily a sheer rock of least a thousand feet, there’s the sunny picture-post view a lovely valley and pellucid lake thousands of feet below. Etngn a3

gl from the

Ef §

ef

;

i a

climbs out of shot. WIDE UP ANGLE (DAY)

revealing the summit, a light breeze hitting the lichen and. whatever growth has a slender purchase on the rocky mountainside, fluffy clouds overhead.

Ethan into shot. Despite the spectacularly precarious handhdzds he’s using to hang onto’the mountain and his life. he appears relaxed, engaged - for him - in the equivalent of a busman’s holiday. It’s leisurely danger for Ethan; one might alnost, expect to hear Julie Andrews trilling ‘Climb Every Mountain! o the soundtrack.

(4

4/14/99 7. CCNTINUED : . -.23

Then a rock he’s been grasping crumbles and Ethan drops about“-s1x inches before he grabs onto the mountain again. As he hangs bj - five fingers thousands of feet above the earth he doesn’t seem terribly concerned until he spots a helicopter.

It’s materialized behind the summit and passes surprisingly close just overhead, casting its shadow downward over . Instinctively, Ethan flattens himself against the rock surfad«, as if the copter poses some sort of threat to him. But when its rotors whir it into the distance Ethan relaxes and resumes his

¢ .

A HAIRY OVERHANG (EXT MOUNTAIN DAY) 24

mear the summit has Ethan ceparting from the vertical and is uow traversing the mountain with more of his back than his feet’ — exposed to the earth far below. He’s clinging to the mountain — almost like a fly walking on the ceiling. When he reaches fot a handhold that will restore him to the vertical, he dislodges a lizard - and manages to catch it before it plunges thousara- of feet to oblivion.

He pockets the lizard, climbs the overhang.

REVERSE ANGLE SUMUT

with Ethan's hands, then Ethan coming into view and making tire summit. He reaches into his pocket and r fevers Ethan with a stern reptilian stare by way of gratitude. To izard:

Ethan lifts the day-glo package and waves it in the directivz. or the copter. With a distinct lack of enthusiasm.

The helicopter once again tums, banks and disappears. Ethau<has opened the beeping package and finds a pair of sunglasses:

ETHAN’S POV SUNGLASSES First, @ retinal scan.

REVISED - 12/8/59 - YELLOW #4 8.

Swanbeck’s face flashes onscreen. Over his introduction of Nyah is a series of satellite photographs whose subject is so elusive she never seems to give the camera a clean shot.

SWANBECK’S VOICE Your mission, should you choose to accept it, requires you to recover a stolen item, designated Chimera. Essential to the mission is the recruitment of a civilian -- a Miss Nyah Nordoff-Hall. She is a highly capable professional thief currertly active in Spain.

A series of Nyah’s ‘accomplishments’, i.e., warrants, complaints, Interpol summaries of her various criminal activities, as well as glimpses of the elusive Nyah circulating about Seville.

SWANBECK’S VOICE (cont ’d) Her dossier’s available on I-COM 3. You have 48 hours to recruit Ms. Nordoff-Hall and meet me in Seville to receive further details. Should you or any member of your . I force be caught or killed, the Secretary will disavow all knowledge of your actions.

Swanbeck’s face reappears on screen: SWANBECK’S VOICE (cont ’d) And Mr. Hunt - the next time you go on vacation, please be good enough to let us know where you’re going. This message will self-destruct in five seconds. Ethan removes the glasses, then tosses them into space.

ETHAN ; If I let you know where I’m going -

. (CONTINUED)

( 4

4/14/99 a. CCNTINUED: (2) ; 28

The glasses explode in a puff of smoke.

Ethan, with a fair amount of disgust, gets to his feet and jumps off the mountain, in, what for a moment look like a suicida? snit. Then, somewhere Inmdreds of feet below camera, ther.‘s a little puff of coler as the tulip-shaped chute pops out of is back-pack. Begin the sound of castanets and the animal-like cries

- of flamenco dancers.

bustling in the activity of a large private party, with arraving guests and attentive valets, as a yomg woman, her face wseen,

exits her car and enters the villa. °

A FLASH OF SKIRT AND LACE (INT-EXT VILLA FLAMENCO DANCERS wu EVE) where to the cries of dancers add graceful feminine hands 7 wielding the castanets. The dancers perform on a raised zm

and NYAH NORDOFF-HALL‘’S face can be glimpsed thru the ~ling skirts and pounding heels, looking thru, not at then.

’

mf looking back in a similar way to Nyah; surreal lighting and the relentless chorus of pounding heels seem to isolate them the crowded party. Nyah contimies to look at Ethan over the shoulder over her wanna-be escort, a very attentive gentleman. Ryab offers up her enpty glass, and the gentleman eagerly takes it to the bar for a refill, leaving Nyah and Ethan looking at one- another. Ethan approaches her.

7~ 31

4/14/99 / 74.

This stops her. Nyah moves closer to him, wtil they’re nost “to nose. Whispered but breezy: .

ETHAN

What if I pay the rent? - NYAH

Uh-uh. ETHAN

Uh-uh?

Glancing at the gentleman making his way back with her drist

And, purposeful creature that she is, she takes her frustrated Gesire upstairs, timing her footsteps so as to use the sound of the dancers’ steps to cover her own. Once upstairs, s

guard Dear the master bedroam can be seen eagerly fo llowing fas Gown the hall, both moving past a pair of windows, visible ito Ethan. In a few mments, Myah can be seen noving past the | windows in the opposite dixection, without the guard following. Im another moment or two. a very puzzled looking security guard can be glimpsed in the first window, leoking up and down ths hall, clearly having lost sight of Nyah. Ethan smiles, movés cut ef shot.

Nyah has opened the door and moves swiftly thru the bedrécar ~ oer €

4/14/99 ayr._

a decadent looking affair with suggestive lighting, mirrored: walls. The tub has a tray across it which includes a wine cooler chilling a bottle of Crystal and a mound of caviar on a bed of ice. Nyah can’t resist. She spoons a dollop of the caviar and downs it before she moves along the frescoed walls of the tub to its back. There, she pulls cut her compact and removes the puff, revealing an electronic density meter. She turns it on and holds it at the rear of the tub. Its sweep gauge jumps sharply from green thru yellow and into the red.

She now steps into the tub and focuses on the grout between the tiles just above the soap dish. Her keen eyes search for any cracks in the grout and she spots one. Using a tweezers sir pulls the sliver of grout out from between the tiles, revea,. _ something that looks like a credit card wedged between the 'Tilés. She slips the card into a narrow opening under the soap dish.

There's the sound of hydraulics and two arms move the marbi« | casing out from the rear of the tub. Nyah breathes a sigh relief and anticipation: kneeling in the tub she finds looking down at an open safe, revealing some half-dozen Compartments. As she studies then:

Nyah looks up to see Ethan’s reflection in the bathroom mirrors, looking dom at her kneeling in the tub.

Before Ethan can answer, a voice can be heard coming from the bedroom warbling Granada in Spanish, and with considerable gt'to.

([CTRITTNITETD \

(

REVISED — 5/10/99 - GOLDENROD 12.

CONTINUED: . 34

Nyah catches a reflection behind Ethan’s in the bathroom mirror. She reaches up and grabs Ethan by the lapel, yanking him into the

tub, pulling

nose.

down on top of her. Once again they’re nose to

She glances up at the mirror. In it is the reflection of SEROR AUGUSTO DE L’ARENA, a big amiable Castilian in his fifties who’s

pnengs

bre

g a white dinner jacket that’s had wine spilt on it. He into a heavily accented version of ‘Now or Never’, and

disappesrs from the dressing room mirror.

- With a jaundiced look she rolls over on top of Ethan ana begins

working on one of the safe compartments, using a tiny torque

wrench from a tube of lipstick and a carbide p froma mascara rush.

working with the pick and wrench.

Looking down to Ethan, a touch of indignation:

She glances down and is rather disconcerted. Continues

ETSAN.

His ex-wife's Bulgari necklace that goes up for auction Tuesday.

(orasernreny

REVISED - 5/10/99 = GOLDENROD 13. * 34 CONTINUEDs (2) J 34 She stiffens - he knows too damn such.

NYAZ

She immediately switches her efforts from the top left to the bottom right compartment . She's utterly nonplussed:

NYAg Where’s the bloody -

. under the chassis) ‘ - torque wrench.

. NYAH ~ this is very disconcerting. .

oO NYA

She unstraddlies him and, with a few deft moves with wrench and carbide pick - and it’s

tongue - She withdrawsa4 velvet pouch and opens the pouch. Out spills the spectacular-necklace.

( (starting to close the safe) ww Whe are you and what’s it going to cost me?

The alarm goes off.

ee

REVISED - 4/23/99 - PINK la. 34 CONTINUED: (3) . 34

a ETHAN That.

The bathroom is suddenly filled with security guards, gurily@rawn. Sefior de l’Arena, looking highly upset, pops in.

SENOR DE L’ ARENA Oh, Sefior Keyes, thank God it is you!. (in Spanish to security guards, annoyed) It’s Sefior Keyes, the security engineer.

Sefior de ]‘Arena kisses Nyah’s hand.

| SENOR DEB L’ ARENA Much gusto, sefiorita -

Nyah‘'s initial shock and c slowly gives way toa wary, | intensified curiosity - t Ethan.

of your security guards, which: you’ 1l a receive in our written report by fax in the

~ morning, hard copy to follow. Shall we? He offers Nyah his arm. They start out. Ethan immediately stops.

4/14/99 15. CONTINUED: (3)

Nyah looks genuinely puzzled.

Ethan nods benevolently.

Nyah Slowly reaches into her dress and withdraws the glittering string of diamonds and rubies from her bust.

SENOR DE L’ARENA (a great kidder)

What are you trying to do, setorita? Rab me?

They all laugh, and Ethan’s got her out the door.

the stars dimming, the sky a gun metal blue. Ethan and Nya" emerge from the villa, walking slowly. Nyah’s clearly prececupied.

with it, why did you let me go thru with it?.

ETHAN

Wanted to see how good you were. I’m hoping we might work together.

rrarrnrnearen\

cn

REVISED - 5/21/99 ~ CHERRY CONTINUED :

Her car arrives.

Not really. I triggered the alarnm..

One foot on the flocrboard she freezes, back to Ethan.

Hey, the Bulgari job last week was flawless. And I’ve always been partial to Pale yellows.

She slides behind the wheel.

She takes off, spewing bits of gravel and dust in her wake.

Ethan emiles and shakes his head.

(

ae,

« )

REVISED - 12/8/99 - YELLOW #4 17.

ON THE ROAD NYAH (MOVING) 36

around curves, hair flying, she’s free. Her car phone rings. Perplexed, she lets it ring once or twice picks it up:

ETHAN’S VOICE Would you like it?

She hits the End button and disconnects. The phone immediately rings again. She refuses to pick up. Ethan pulls alongside her. She looks at him. They speak through the open cars. ,

She floors it and shoots ahead of Ethan, nicking his car as she takes off.

<

REVISED - 12/8/99 - YELLOW #4 18.

SERIES OF DRIVING SEOTS NYAH AND ETHAN 37

Ethan rings her again. And keeps ringing. Her face becomes grim, her flight progressively more desperate and with Ethan’s pursuit progressively more determined. They are reaching the limits of adhesion around blind curves.

MORE SHOTS DRIVING (DAWN) 38

The sky’s battleship gray; Ethan pursues Nyah around hairpin turns high above the Costa del Sol; they rip thru patches of marine fog drifting on the road, obscuring it.

Both are appalled by the other’s willingness to escalate risk in this game of flight and pursuit until Ethan tears thru a fogbank and sees on his GPS what Nyah can’t possibly see thru the fog - less than four hundred meters ahead is a turn she can’t possibly negotiate and if she can’t she’ll plimge off the road hundreds of feet to rock and sea below. Ringing her number again:

She turns up a mound and loses control. She spins out and heads toward the edge of the cliff.

Ethan cuts her off and sends them both into a 540 degree spin. Her car stops just at the cliff's edge.

Furious she wrenches open her car door and gets out.

Suddenly there’s no Nyah. Ethan leaps over to Nyah’s car and sees Nyah dangling over the ocean and rocks hundreds of feet below, holding onto the door handle.

Taking a firm grip on her wrist.

4/14/99 19:

CONTINUED: . . 38 ETHAN Don’t look down. Just..look at me. That's it. .that’s..it.. He pulls Nyah back up to the car, across the seat and half nto his arms. For a long moment it looks like she’s in shock. Then: NYAH What’s your name? ETHAN Ethan Hunt. NYAH ’ Well, Ethan Hunt, what is it you want to talk to me about? . Thru the veil of morning fog. Nyah looks at Ethan. Her darx eyes suggest wit, and willingness, and longing. ETHAN " They scarcely have to move to bring their lips together: NYAH Awfully short notice.. ETHAN Care to wait a decent interval? WYAH Who wants to be decent?.. DISSOLVE: CLOSE ETHAN (INT-EXT SAFEHOUSE SEVILLE DAY-EVE) . 33 ‘sleeping. His eyes open slowly. He comes to full consciousness, his head still on the pillow. Something approaching serious anxiety informs his features. He lifts his head and looks tr his left. angle widening. Myah lies on her side facing him, © _ sleeping serenely. Amciety on the order of oh-God-this-isn’ft- | approved-recruiting-technique, confirmed. He lets his head fiop back on the pillow. Then he turns so he and Nyah are profile to- profile. As he looks at her sleeping his anxiety fades, recieced by curiosity and even wonder. He lifts his hand and just brushes her cheek. Her cyes open. She knows where she in ~ So what’ve you got against spooks? Nyah smiles.

terra sRTarrrernt

4/14/99 20. |

Oh. Well..this isn’t exactly by the bock. _—

NYAH ° The only other spook I knew was a liar. Charming but absolutely incapable of telling the truth. He’d lie about his favorite color. But then I reckon it’s an occupational hazard. All spies really do is conceal the truth and tell lies.

Ethan laughs.

Nyah shudders and moves into Ethan.

40 *

4/14/99 21.

CONTINUED: (2) 35

I don’t know that they ‘pinched’ it. ° Don't even know that they’re blokes. Nyah stops to think about this. NYAH Well, then, what am I doing here? I assume I’m meant to be some sort of thief-to- catch-a-thief£..

Nyah looks at Ethan, a little worried.

Ask a question, you get an answer!..

Quick as a cat Ethan flips Nyah over so she’s looking down at

She sinks into his arms. EXT-INT STREET- SEVILLE (VALENCIA FESTIVAL) (EVE) 0

Ethan's step is unusually jaunty as he bounces along, making his way thru the festive and jostling crowds preparing for the Crema portion of the Fallas de Valencia. On this night great papier mache effigies, some serious, some comic, are placed al] thri<the city and torched in great bonfires. Outside the bar Ethan’s. loaking for there's a street vendor, hawking Fallas mementos and flowers. He slarts past the vendor, and it hits him - he’s going to buy some flowers. /

REVISED - 5/12/99 - BUFF: 22. CONTINUED: -- 40

He chooses a colorful spring bouquet so fresh the dew can be seen on the petals. Ethan pays the vendor starts into the bar, and thinks better of walking into Swanbeck with the bouquet. Turns back to the vendor.

Ethan enters the bar and goes upetairs to the second 2icor where he passes security at a pair of double doors. -

Swanbeck stands looking out the window. Noisy crowds from the festival provide a constant walla, and during the sequence, the first effigies are lit, and smoke and flame provide a vivid beckground thru the briefing room's windows. ~

Festival’ pain in the Honoring

sa ass.

saints by setting ‘em on fire. (turning, to Ethan)

Sit Gown, sit down.

Ethan sits.

my way over here. As if I haven’t been burned encugh today.

A moment where it’s impossible to tell which wa the wind is going to blow between these two. Then, civilly.

UTHAN : Sorry I didn’t let you know where I.was. SWANBECK . Don’t be. Wouldn’t be a wacation if you did.

\

REVISED - 7/15/99 - PINK #3 23. CONTINUES: - 42

S#ANSECK Why did you phrase it like that?

Swanbeck turns to his computer and begins play on a DVD, and projected onto a computer screen staring back at Ethan is:

VLADDCR NEKHORVICH ‘42

Nekhorvich pauses as if waiting for a reply. Ethan smiles.

NEXKAORVICH

I’m fine too.. I'm fine and you're fine - do you remember, dear friend, how you got Sergei ang X to repeat those lines from Dp. Strangelove and we gave you the name of that silly Soviet Premier because we didn’t know your name?..In those days, you not only saved our lives, you saved our sanity. ‘Now, then Dmitri - we have thie little problem’; Every search for a hero mst begin with something that every hero requires: a villain. Therefore, in a cearch for our hero, Bellerophon, we created a monster

a. I beg you, Dmitri, come to Sydney and accompany me to Atlanta immediately. However we travel, I mst arrive at ny Gestination, within 20 hours of departure. Forgive this fanciful explanation, but for now prudence dictates that I cammnicate nothing but the § gravest urgency.

(MORE)

-

REVISED - 5/10/99 = GOLDENROD. 24.

CONTINUED: 42

NEKHORVICH (cont'd)

I fear I can entrust this to no one but you, Dmitri. As we say, ‘I’m sorry and you're sorry’.. °

Swanbeck stops the DVD.

SWANBECK

Let ma ask you something. You have any idea what the hell he’s talking about?

Ethan smiles.

“ Y¥THAN Bike it’s a good idea to pick him up in a hurry. And a bad idea to fly him ona

commercial carrier. So lat’s get on vith it. He still in Sydney?

tet earlier. we had Bekhorvich on a flight

from Sydney that crashed in the Ethan sits back, heavily.

Slowly looking up:

Swanbeck clears his throat. He turns back to the computer and punches in: MI6SION DOUBLES IMAGE. File opens to computer scans o£ AMBROSE, SEAN, and HUNT, ETHAN, the computer scanning and coupearing their features, millimeter by millimeter, stat by stat, as the computer then imposes, with the help of the physiognony scan, Ethan’s face on Ambrose: hence, mission Gouble image.

ETHAN

slowly looks up to Swanbeck.

(ocwermarrent

REVISED - 5/10/99 - GOLDENROD 25.

Swanbeck

ebscured

SWANSECK

When I couldn’t find you, I had to replace you. Sean Anhrose wag tha obvious choice. He doubled you, wnat? Two, three tines?

ETreAN twice.

ETuAN You know we had reservations about each other. Isn’t it a little late in the day to be asking me that?

shows Ethan a photo of an airline Captain.

Another photo of an open suitcase, the body in it partially

by a ring of police and customs officers.

SWANBECK

Then you do think it was Ambrose.

Ethan barely nods.

ECO}; CTITTEN A

REVISED - 5/12/99 - BUFE 26.

Ethan gives Swanbeck a look. |

Ethan sniles.

The question is why? What was was this Chimera Nekhorvich was: carrying?

Ethan rises and moves to the window.

In any case, *ve to recover Chimera and bring i¢ sot

ETHAN ; nm order to do that, I’ve get to fi out how he plans to make money with it.

al

e

‘ rh

‘Terrorists?’ -

(CERF TITTON |)

REVISED - 4/19/99 - BLUE 26A—

on

REVISED - 5/10/99 - GOLDENROD 27.

CONTINUED: (4) 42

SWANBECK

Well you know Nekhorvich’s history. You're the one who got hia out of the Soviet Union was it was still in the bio- weapon business.

You.

2THAN

She‘s got no training for this kind of thing.

IPOWIVTNIT TET

REVISED - 5/10/99 = GOLDENROD 28. CONTINUED: (5) £2

Ethan’s anger flashes but he does his best to contain, it:

.. SWANBECK Well it’s not mission difficult, Hunt. It’s mission impossible. Difficult should be a walk in the park for you. If you can think of a quicker way to get to Ambrose, you’re welcome to try. Oh, by the way, you might want to take a look at these..if you have any further qualms about getting her to do the job.

-.- Be pulls out a little Minolta digital camera (identicat-to the

one in Nekhorvich’s bag at airport security). Swanbeck sets it on the table. Ethan picks up the tiny camera and puts it to his eye.

A grim Ethan, staring fixedly ahead of him emerges to.an ever more lively crowd. As he does: .

The vendor holds up the spri bouquet. Ethan seems ge..sinel surprised by thes. Prag , 7 ¥

(COWFIMITENY

the bouquet. STILLS OF CRASH SITE IN ROCKIES (THRU MINOLTA STILL CAMERA) ae

One after the other flashing by. They are more evocative that specific in their suggestion of an abrupt, fiery, ending, where the lives of nmdreds are literally and figuratively torn apart end strewn over a desolate, Landscepe-

Rares St.

AS Joa se “29oR.

ote : i oo . carefully places the. lictie Minolta asa glass-topped coffee table. She's beautifully pulled together, the safchouse has the. lights low; flamenco msie playing. and when she walks out oc” CAL? the balconyis Ethan seem the candilelic table end a bottle of ~ champagne chilling... Thare’s w= licht breezes the firea Frc toh, g ofiieie SRenene emoke ana flame. all over the

ay

Piss rs ae oo a

+ eng et.. . 3

- we . ww. c.f. A longa: sti q et

The pounding beat of che. flamers munfe! seems to £111 the roogt: . Nyah’s back to Ethan: - cs

$LE-s:. fs ww bd RENE Lek: . ~ tly ony ae Vege ae

es wer ."

ar Ve ee

ta ~ re:

REVISED: — 4119199 BLUE 3a

444 CONTINUED:.

eee (grimly samsed) — Foe ave it matters zach but..Ir seem to recall you saying something like, ‘I was

She approaches Ethan. They're inches apart.

NWYaw {cont'd} . Come on, out with it. Tell me to go and- —

(archness there} ° You've either got. it oa you Gon°’t.: ‘lat: your conscience be. your guider’.

" consciences Rot: mvp: Wy did you have to tell me about thisf.. =» . (pouring. herself a drink

- - we sos a

le. “eas ane tie

(

REVISED - 5/26/99 - TAN 31

-~ 4&4 CONTINUED: (2) }

* NYAH (cont ‘d) :

What do I have to do to get away from chis

~ guy? When you’re with him, he masses about with your head every waking moment..@ven now I’1] be at some out-of- the-way-place. a tin of caviar and a bottle of Crystal shows up at the table, with two glasses, God knows how he finds out at any given moment where I am in the world but he does. And it looks like he’s done it again. You know his definition of

a true psranoid?

~ (she turns away, pause) Are you telling me I have to do this?

_~ end up in their hands. , NYAH wv Ana that’s the only reason?

44A

mn )

(OMIT 45-46)

REVISED - 5/21/99 - CHERRY 32. 44a

Ethan walks out onto the balcony. She looks at his back.

Ethan’s been sailing slightly.

(QT 45-46 NYAH IN A SPANISH JAIL _ 47

standing for front and side mug shots. ©.S. sound of teletype

continues. SUPERIMPOSE: Ethan holding up something the size of a Gime: .

; ETHAN This little chip sends a coded signal that can be picked up only by our commuter.

On the screen of the GPS computer. a little yellow blip appears pulsating on the screen. OS

Ne ‘

rN Bie

owe e+ es © com —- mre -

(OMIT 68-49)

SOA

soc

REVISED - 5/26/99 - TAN 33- CONTINUED: 47

ETHAN’S VOICE . When it’s in your ankle we can track you to within three feet of amywhere in the world.

(omaT 48-2)

OVER ETHAN ONTO COMPUTER SCREEN - $0

He types a small Interpol bulletin stating that Nyah Nordort — Hall, apprehended March 13 in Seville, is swaiting extradition while the authorities in London, Paris. and Amsterdam squabble over where she’s going to be tried first, for the various thefts

and burglaries she’s committed in the three cities.

the window, and stares out thoughtfully at the bay, almost ds if he were watching... .

2xXT - NYAH IN JAIL COURTYARD o>. | *

Prom a beautiful blue sky. pan down to the courtyard of the_§ail. where Nyah is allowed out for an airing, seemingly alone-bur being watched by: _

His attention fixed on the screen, Ethan stares at satellite . shots of Nyoh in the jail courtyard. .

(OMIT 51-52) (OMIT 51-52)

being allowed a phone call, a prison guard visible b.g. Cracs cut with Ethan: - te beg - ETHAN °

Look, I can’t run your arrest. on CNN, but

Z guarantee he’s monitoring every law

enforcement agency in the world, for what

they might be saying about him, if nothing

else - he’s got the ability and, we

assume, the Gesire to get you out of

there. This do be

s esn’t seen to ace lishi much. one mg

, atl

REVISED - 5/26/99 - TAN 3f-

Her guard, b.g. is handed a note.

REVISED - 4/19/99 - BLUE 33

“—~ $3 CONTINUED : GUARD (to yah) — Your lawyer to see you, NYAH What lawyer? 54 ETHAN AND COMPUTER SCREEN ETHAN Well, hare we go.. SECTOR: AUSTRALIA. moving into NEw SOUTH WALES, and then to: Sydoey. Here Ethan pulls up names, photos and profiles of — potential candidates. They scroll past. one face morphing into another. Ethan punches in on WILLIAM A. BAIRD. ‘EXPERTISE: Qualified in virtually every mode of transport, land. sea, ain ORDIVANCR: Small arms and automatic weapons authority, edged and ~~ impact wezpons PROCUREMENT: Resourceful. EXPLOSIVES::° Precitign detonation, diffusion. Ethan punches: Request immodiate availability. - (cry 55) (OMIT aa SSA EX? GOVT BUILDING SEVILLE DAY . . 554

DL

yeh emerges from the entrance to the jail. - oo ETHAN - Step and leek for samething in your purse. .jmeel down.. She does. They’re effectively blocked’ fxom the street.

Lime’s waiting, Bthen hands her-a key-chain with what eppears te be a car-key. _ -Anbrosm will have coumter-surveillance second ta("no cne’s. When and if he . Contacts ‘you, push this little button ., Defoxe you ectually end up undes his roof, pe oe 8 | scramble your transmission to us.

She takes the key. chain.. Her hands are shaking.

(CONTINGED

REVISED - 4/19/99 - BLUE 36.

Before you are.

~ , BYAH ‘ How can you possibly? I’ve got to get right on the plane. I’m leaving now. STHAN You Gon’t trust me. ° , NYAH Oh, I do. But as we know I’m a very poor judge of character. ETHAW He’s got you on Qantas flioht 2735. It’s: going to be delayed. and Nvah.. — BRYA Yes? . BTSan | You'll be fine. I’m not going to lose | _ you. ~~ YAH ’ - Bthan, you take care of yourself, [1°11 — take care of myself because if push comes

} | toe shove, I’m goma beil - and without. wing two weeks’ notice.

} STwaAw . ) ; . Well, forewarned is forearmed. And while . we're at it, be ialiy sensitive to ° _ ° any sudden change ambrose’s plans, . a - especially any involving you..

~~ thing’ $ atte Beek Satcere oe the and aod _ she 2 lock of ' “* ome os as gazes him, - then.starts across the street toward limo .an4d driver. WW 7, music theme, kicks, in and continues ovex:

(cen? 56-59 mm.) , &

e 2 .~ oe °

-— O'60 seem

* oye

y a

REVISED - 5/31/99 - BLUE #2 37.

‘ pens of shoep are bleating and locking for some sor sort of cover in

response to the sound of a helicopter touching down

Billy and Luther emerge, Luther with computer looking acutsly uncomfortable in a wrinkled suit.

ETHAN’ S$ VOICE

Welcome to Australia, mate. They lock up to e smiling Ethan who points to the ground beneath Luther’s feet. Luther looks dow to see that ha is standing in a pile of sheep-shit.

LUTHER

Thanks - mate. Both men laugh and all three move to:

Luther and Billy with Ethan setting up their operation.” THER’ s a blip on one of the screens. ~:

REVISED - 5/10/99 - GOLDENROD 37A.

”

POV MOVING (PALM NRACH DAY) 66

approaching the tip of the bay’s crescent, around which is the beach and dock at Ambrose’s palm-lined residence. .

COMET TwTTEN

aft

REVISED - 5/31/99 - BLUE 82.38.

66 POV MOVING (PALM BEACH nay) ., $6

rounding the tip of the bay's crescent, revealing thi be ch_and dock at Anbrose's palm-lined residence. ° °

NYAH

The speedboat’s engine’s are cut. Nyeh looks momentarily

(ae) 67a

(OMIT 677° 67A POV NYAH (MOVING)

obscured by the sum at his back. _

678 ETHAN 675; leans forward as the slender figure grows larger, BILLY (to Ethan) Ts it him, then? -" . eC

ec POV MOVIE

The tide is too low for the boat to dock, making it necessary for the boat to oach the shore. The slender figure moves fz the end of the and onto the beach.

THE CIGARETTES

idles into shallow waters but the props start chewing into the sand - the boatman grumbles he can’t get any closer. The slender figure has moved to the shoreline and the angle of the light

changes - Ambrose is waiting.

Nyoh hesitates only a flicker of an instant. slips over the sige into thigh-high water without taking her eyes off Anbrose. Ambrose strides right on into the bay: As they are just an_aérn’s

dength apart: *. NYA

takes a deep breath, presses the button to scrazble the ° transponder.

67E

67F

REVISED - 3/31/59 ~- BLUE #2 33.

WITH ETHAN ET AL (INT SHEEPFARM GAFENOUSE) $75

The picture abruptly goes dead. BILLY Damn. Just when it was about to get interesting.

Luther punches in. The signal - acd the global coordinates are given. They wait.

Lather shoots him a disgusted look.

THE SIGNALS AND FHOTOS

start to bounce back, growing larger and larger on the screen. until: Nyah can be sean, water up to her thighs, lingering in

ambrose’s arms with each blow-up, and lingering. And lingering.

67F

REVISED - 5/31/93 - BLUE #2 "#0.

Ethan'é look suggests he’s worried about lapse in recruiting judgment.

Ie is, Billy.

ETMaAWw We don’t know what we’ve goc because we don‘t know what he-s got, where he’s got it or what he’s doing in Sydney with it.

Ethan strides away from the screen, the edge in his voice and the move not altogether lost on either Luther or Billy.

Perfectly poised, still loosely in his arms, Nyah returns, aAmbrose’s penetrating gaze with a pleasant, clear eyed one

How grateful?

REVISED - 10/11/99 - PINK 64 = 42.

How I usually find you, Nyah.

69 POV THRU TENT ANNEX WINDOW (AMBROSE COMPOUND)

looking down the length of the dock. Ambrose, his arm around Nyah and carrying her suitcase, moves up the dock toward Ens

house and camera.

Starp steps into the annex and looks over to Wallis, whaq #atches Nyah on the monitors.

screen) No bugs either. She's clean.

2 FLL 2. =m * .. - oc lume

REVISED - 10/4/99 - aLUS #6 42.

Ethan watches the Nekhorvich video on the computer screen..

NEXHORVICH’S VOICE . therefore in a search for our hero, Bellerophon, we created a monster,

Ethan then flips through a series of pictures on the computer depicting the myth of Bellerophon attacking Chimera.

ed

Billy moves up behind hin.

ETHAN : A myth. .just a myth...shouldn'’t you be checking out their countersurveillance?

ETHAN

- or hard wired, right. First line of perimeter defence‘ll run from the back of the dock to the front of the house. Whatever moves burps or bleeps is gonna be picked up to a height of twenty feet. Basically impenetrable, I’d say.

boss..

Luther scans an entry from the IMP database with newspaper ~<. Clippings, sidebars of stills of McCloy and Nekhsrvich.

o . ~ a? ser 6

~~: -- “e one —~ -— oy 7 see - . e 2.8 owe t. 7: Ps . .7t : .

REVISED - 10/4/99 - BLUE 84 -43. €9A CONTINUED: 69a

and confirming your intuitions on site?

Billy leaves.

efforts..in 1989, acquired Biocyte in a hostile takeover...

As Luther transfers info to Ethan’s carzputer:

Qn Ethan's screen appears the Biocyte website; where among i¢ various icons one offers McCloy’s proud detailing of BiocyteY s

philanthropic efforts:

oN

«. . ~- 98 wGeae re a one 1 he

er) e.-. 33 ”“- F

REVISED - 10/11/99 - PINK #4 - 44. 69A CONTINUED: (2) ' ° 694

eroce -- lee oe. s-a.es = mee

MCCLOY’S VOICE We at our state-of-the-art solar powered Blocyte building recognize that eternal vigilance is the price of health... whether it’s funding che teaching center at the Royal Prince Edward Hospital, rencving aeresol products from the market or braving the influenza quarantine at Bruny island late last month..at Biocyte..your life..is our life’s work..

. Biocyte workers at Bruny Island..

70 ‘INT AMBROSE’S (DAY) ° 70

They've reached the head of the stairs. Ambrose opens a dpor. It’s a large bedroom opening onto a veranda with a ylew o£; the tent annex and the beach, and a very large bed.

ium,

A long moment. Ambrose walks to a mirrored wall. The wirrors are sliding doors. With a sweeping gesture, he slides one of the mirrors back and reveals a wardrobe of beautiful designer

clothes.

: AMBROSE Thought you could use a little something

to wear.

Nyah stares at the spectacular wardrobe. Anbrose pulls eu a slinky Armani and drapes it on the bed.

Nyah hesitates. ‘AMBROSE (cont ‘d)

Go ahead. I’m dying to see if I remembered your size..

?

7OA

-- ee e : e , yet ere =

o-— ee - ee 7

REVISED - 10/11/99 - PINK ee 45. CONTINUED: 70

wa Ck ot 2

Nyah picks it up.

Ambrose sits on a chaise by the window and waits. Her‘blouse, belt, skirt, fall on the bed. As her slender arm reachésdow to pick up the Armani: -

AMBROSE’S HAND . grips her wrist, the flimsy Armani dangling in the air. CLOSE NYAH meeting Ambrose’s look. NYAH You‘re not interested in seeing how it - looks. AMBROSE

Oh, I am. Later.. The Armani falis in a fragile heap on the floor. CLOSE ETHAN (DUSK) 70a standing off to one side, listening to Nekhorvich’s voicé-

NEKHORVICH’S VOICE . therefore in a search for our hero,

Bellerophon, we created a monster, . “ST Why's Nekhorvich going on about an old Greek myth? PTHAN

Nekhorvich specialized in recombining DNA molecules. In the myth, Bellerophon killed Chimera, a recombinant monster with the head

of a lion and the tail of a serpent who Plagued the ancient world. I think Nekhorvicb

has created a monster virus in Chimera and apparently the means to kill ic in

Bellerophon. LUTHER That simple, buh?

(Oat 71-72)

REVISED ~ 10/11/99 - PINK @4 =46.

CLOSE NYAH (INT ANGROSE BEDROCM - DUSK) 703

lying back on a pillow, lacking up and cff into space Ue tight of catera). She hears Anbrose’s voica, with Ethan’s weite,

underneath, sotto voce.

AMBROSE’S VYOICE/ETHAN’S VOICE Damn, you're beautiful..

Nyah reacts as if she'd been rapped on the nose, her eyes — moist. She turns abruprly to camera.

AMBROSE ; leaning on an elbow, locking dow.

~ to spring fever. Anhbrose, amsed, lights a cigarette and inhaling: AMBROSE — Wen't do, love. It’s not spring. It's

nearly autimm..You’re in Oz. Everything's upside down and backwards here.

REVISED - 10/11/99 - pryx 04 47: 88,

73° CLOSE ETHAN (SHEEP FARM SAFEHOUSE - DUSK) 73

Luther resumes working on his computer and sees Ethan is locked on Ambrose’s compound on his computer screen, thinking of Nyah.

compound.

tossed it into hell.

Ethan stands. OUTSIDE THE SHEEP FARM SAFEHOUSE

A brooding Ethan exits the sheep farm safehouse under * setrine sun.

ETHAN’S VOICE Now we'll see what chance it has.

Ethan stops, looking out over the broken plains. His voice is heard overlapping into the next scene.

—— ETHAN’S VOICE (cont’d) ~ (softly) Damn, you’re beautiful. ° DISSOLVE: 0: (QT 74-75) (OMIT. 7€ £75) (OMIT 75A-75B) (OMIT 754-758)

CONTINUE WITH SCENE 75C ON PAGE 49

——arT

-e . ~t . . Ls

REVISED - 10/11/99 - PINX #4 43.

(OMIT 74-753) (OMIT (24-758)

lying in bed, obviously hearing Ethan's voice again, anc feeling very much alone. She stares out into the night, a gazé that ‘n its bemused intensity is an exact match to Ethan’s.°

FADE: CLOSE PHOTO HONG KONG TIMES (INT AMBROSE STUDY~EARLY DAWN) 76

its front page, except for the headlines and date, covered with stacks of paper money, banded bundled dollars piled high as a

cord of wood. The amount $24 million is written in ink ~e> the money.

Ambrose’s hands shift to another photo of another newspaper, the LONDON TIMES, this one piled high with English pounds andthe written amount: 37 million pounds.

AMBROSE‘S VOICE Thirty-seven million pounds. That’s a promising bid.

The third photo is of the APTERNOOM ARUBAN, with $14 miliion: stacked on it.

Ambrose, Wearing a robe and seated at a glass-topped table, sets this last photo on the table on top of the others. He picks up Nekhorivch’s digital camera, removes the film disk, and snaps it into its plastic case. He places the case into an envelope (Nove :the same envelope seen at the track] and hands it-t=. Stamp.

Stamp is seated near him. Glances toward anbrose’s bedroem. and Nyah asleep in Ambrose’s bed.

Not everything. Why do you think she’s really here?

—_— ——_——- ~ a

- 1 , - = os cont . REVISED - 10/11/99 PINK #450.

As he speaks, Ambrose pulls a cigar case and a cutter ot of his robe. Takes a cigar cut of the case and clips the end off che cigar; the razor-sharp cutter decapitates the tip of the -efaar like a guillotine. :

Ambrose opens the cutter again to clean off the fragments,of tobacco trapped by the cut.

G@vavu

REVISED - 4/23/99 - PINK =—s 532.

EMPTY FRAME (EXT RANDWICK RACE TRACK - DAY) .

with no scund, the backstretch an unrecognizable blur untf horses at high speed burst into the frame bringing with thd.., the sight and sound of their great nostrils snorting and gaspizp- for air, their hooves pounding on turf, their jockeys’ shout iuy: and jostling and going to the whip, the sound of the crowd overwhelming all but the announcer’s voice carrying everyérm, around the far turn and into the home stretch with a ringing, controlled frenzy.

Nyah and Ambrose rising as the horses cross the finish.

* AMBROSE (surprised) You won.

AMEROSE ° What made you pick that nag? She’d never won a bloody thing.

. AMBROSE . Say no more. I'm off to grab a drink. Still favor Bellinis?

She smiles, a little shakily. Ambrose leaves.

<n 5:

It‘s Billys: passing behina ber.

Billy hands her a cheat sheet and moves on. She opens it to the fourth race. Taped onto ‘Naturally Vain’ is a small plastic piece with the note. She regards the note, places the plastic piece in her ear.

(TY

~~

REVISED - 5/4/99 - GREEN . 53.

CONTINUED: - 78 ETHAN’S VOICE You can speak as if I’m right by your side. NYAH

(picking up binoculars) Where are you?

ETHAN’S VOICE At the mounting enclosure, just off the track at two o’clock. — FHRU BINOCULARS NYAH’S POV MOVING . 79 thru the crowd onto the track over to the pre-post paddock where

ETHAN , Just like old times?

She appears to be the picture of unruf fled sang- froid

FTHAN'S POV (THRU GLASSES) . 81

poving from Ryah to the champagne bar just behind where Ambrose seen greeting someone in the crowd and they sit at a corner table in front of the window overlooking the track.

¢ 0

6012

REVISED - 6/23/99 - PINK Se. CONTINUED: . a

POV ETHAN

Stam, stands by a pillar, his finger heavily bandaged, looking glum.and looking down at Nyah.

ote “<

NYAH« > “tus ~E... . ar oe c ete ft - Michael, his driver’ s wm Aussies ‘new to no

and from his point of view it can be : seen that Ambrose is talking with John McCloy, the head of Biocyte-- Ambrose-takes en envelope out of his inner left jacket pocket and from if pulls out a small plastic container marked °S.G.*. (Identical to the object first ° ween in Nekhorvich’s satchel at airport security.}: He opens it and removes a smal) shiny object about. the size.of a quarter. He turns to the window and gestures. Stamp enters the bar.

hrragteessse—*

‘es )

REVISED - 6/6/99 = GOLDENROD #3 — SS. CONTINUED : _ 84

ETHAN’S POV. 85

CEO.

that about?

is monitoring both cameras. All see Ambrose give the little wafer-like object to Stamp who places it in a small camera, hands it.back to Ambrose and exits, waiting just outside the glass door. Ambrose hands the camera to McCloy who looks puzzled.

McCloy puts it to his eye, fumbles, then with Ambrose’s direction:

happy about.

McCloy puts the camera down. The two men have words. - McCloy shakily leaves the table. Ambrose opens the camera.

REVISED - 8/6/99 - GOLDENROD #3 56. — 86 CONTINUED: 86

. LUTHER Roger that. ° ETHAN : Confirm. Left jacket pocket? LUTHER Left jacket pocket confirmed. ( 87 ETHAN BY THE MOUNTING ENCLOSURE - 37 ETHAN

Nyah, Ambrose is heading back. There’s an envelope inside --

—_ NYAH -—- his left jacket pocket.

e a

Affirmative. 68 # AMBROSE passes by Stamp on his way back, hands him the camera. NYAH

(after a brief pause) aw Where do I meet you?

89 WIDE ANGLE BLEACHER (DAY) Ambrose arriving with a pair of drinks. Nyah rises.

ww,

CONTINUED 2

REVISED - 5/1/99 = YELLOW.

S0u..

they’re about

$7.

While Ambrose is svtii juggling the drinks, Wyah reacnes into his

trouser pockets,

and rumnages

Billy, make sure Nyah’s not followed.

BILLY

No worries, mate. She pulls out a fifty-—dollar note.

and with interest...

I've no doubt.. She heads up the stairs.

Zold an.

Ambrose grabs her arm, and she alsost drops the envelote she’s

lifted. (Hote: It is important not te see her aé sally lift t)- She’s holding it, pinned between her right arm Shi side. As it's slipping, she notes Stamp above her, looking down and has to conceal what she’s holding from him ac wells

oe eum cocew odes

° REVISED - 5/4/99 - GREE 58. 89 CONTINUED: (2) . oo, . 89

She takes it and as she does the envelope falls, but she manages catch it with her left hand, blocking the move with ber body

i she does. (Omr#. 90) : ' pOmMrT 90) 91 WIDER ANGLE NYAH 91

moves along the aisle.

ETHAN’S VOICE Luther, smallest digital you got. Ready to transmit. Betting table twelve.

$2 xT VAN (DAY) $2

Gesignated as NEW SOUTH WALES DELIVERIES, , ‘anytime, ,ahywhere. ‘ Luther bursts out of the van, carrying the tiny camera and begins Fo thread his way thru cars and foot traffic.

93 BILLY 93 in dramatic contrast ambles at a conspicuously leisure.ypace. 94 WNYAH 94

passes Stamp, not seeing him standing just a row above, blocked from her by one of the pillars. Stamp idly regards her. then — Gecides: he follows.

95 LUTHER 95 perspiring, approaches the betting tables thru the last. of the parked cars.

96 STAMP 96

ches the door thru which Myah had gone and start to open - only to have the door slammed in his face and on .x5 andaged finger by Billy, in a track usher’s wniiform:

. BILLY (very solicitous) Sorry about that, mate, that mist’ve

really aggrhh!..

LPrPARKRTaAT IC RS

REVISED = 5/1/99 - YELLOW 59, CONTINUED : ; 96

Even as Stamp winces in pain bis arm has shot out ana-Billy finds himself pinned to the wall gasping for air. If he'd bean welded

t there by a band of steel be’d, have more room to maneuver.

Stamp looks around, Nyah’s nowhere in sight. He’s lost her. Sees his hand's bleeding and lets Billy go, who nearly drops: to the

floor.

(pointing : ) - aggrieaggrhis-acgrhh. °

Stamp heads up to the men’s roca. BILtiy (croaking it out)

Shakes his head, feeling lucky to escape with his lifé-

Myab into shot. Stands in line. She looks around.

ERTHAN’S VOICE How'd you do? - Don’t turn around.

Myah turns and looks Ethan dead in the eye.

vA

REVISED - 4/19/99 - BLUE. SOK. .+ CONTINUED : — ETHAN’S VOIcs How'd you do? Don’t tum around. ° Nyah turns and looks Ethan dead ‘in the eye. (CONTINUE

whol .

” ( (: a 98 @

REVISED - 8/6/99 - GOLDENROD #3 60.

CONTINUED : 97

Spank me?

She slips Ethan the envelope. Ethan himself returns the look, holding it in spite of:

BILLY’S VOICE Stamp‘s out of the loo.

Luther arrives, with the camera, opening. for Ethan. Nyah turns away. Echan pulls out the tiny memory card, slips it in the

camera. ETHAN (CONT'D)

(looking into camera) This is going to take a couple of

minutes.. LUTHER 38 .4s racing back to the van. " LUTHER ° 99

BILLY’S VOICE Stemp’s a little shaky, but headed your

too) What race are we talking about?

REVISED - 5/4/99 - GREEN: , 61.

~~ ~ 100 INT VAN (Day) 100 A sweating Luther: ; LUTHER I’m booted up. Go, Ethan. BILLY’S VOICE He's heading down the stairs, now.. Ethan places the digital camera on play and begins to,...o thru the stills. As they click off, Ethan is visibly affected. watches the stills as well. He's no less affected. ETHAN WITH NYAY Fle mitters some expletive under his breath, then, evarily: ETHAN _ I want you out of Ambrose’s place. BILLY’S VOICE we He‘s one tier from the bottan. Ethan glances over to the bottom of the stairs. NYAH | ; What are you talking about? As he lowers camera and removes the memory card. : I want you out of there. NYAEH . Why? what’s happened. What did you see? " 4 BILLY _ Thirty steps.. Slipping card back into envelope. ETHAN Nyah, you’ve done more than enough. Even ~ the best of snake charmers get bit. ‘ NYAEH ° Ethan, tell me - ~~

| REVISED - 5/4/99 - GREEN. 62.

BILLY’S VOICE Twenty, nineteen..

Ethan’s been talking to someone he’s been urging to walk, not run to the nearest exit. Now he drops all pretence:

put it. NYAE . How do you suggest I go about it? ETHAN

He‘s touched your heart. You're overwhelmed. You need to think it over. You’1ll meet him somewhere in a month. If you’re not out in 48 hours I’m coming in

and getting you out. Give me the ear

piece. She just gets it out of her ear and gives it to Ethan. 3en she reaches the bookie who warns her to get down her bet. ‘ue et him her money and gets the tickets just as the buzzer: ces no more bets. Flustered by it she picks up her tickets but & Srops the envelope. She quickly kneels and scrambles to it,”

tucking it away and looking up - to see Stamp standing over her, almest exactly where Ethan had stood when she looked away.

NYAH 101

tries not to register alarm while she gauges how mich:Stamp had

fhe rises. Stamp waits only a moment then follows.

behind and puts her arms around him. With her left hid she puts the envelope into his right jacket pocket.

({CONTTNUED)

7 -

REVISED - 10/11/99 ~- PINK #4 2-63. CONTINUED : ‘ 102

outside! (lowering binoculars)

Bloody hell, Nyah! She's momentarily startled. Then:

The photo is coded with the date in the lower left hand corner, 01. 27. 99, the time in the right, 10:02:56 A.M. Burned into the

-photo is *20 hours, 03 minutes after exposure.’ e

Ethan punches in.

ETHAN’S VOICE (cont ’d) Twenty hours and three minutes after

exposure. (sotto voce) |

Twenty hours.

Ethan doesn’t say anything for a moment, then goes on to the next photo an the card: °25 hours, 40 minutes after exposure.°. t's Gradeki again. Gradski‘s eyes are darkly circled, his ski. looks mott

we -- _ oo. Pod

7 _— ae

REVISED - 10/11/99 - PINK a4 sg.

103 CONTINUED: 4 203

Another photo: °31 hours, 30 minutes afcer exposure.* Graciski' bleeding from nose, mouth and ears, the skin eruptions a. s pervasive, his body an cpen wound. 7

The next photo. "34 hours, 25 minutes after exposure.* Gradski’s body at rest.

The victim's face shows a devastation undeniably like Gradsxi’s. A long, long moment as Ethan, Luther, and Billy sit in stience.

Ethan looks again at the firat photo of Gradski.

hours of departure. ° _* CLOSE NYAH (EXT AMBROSE VERANDA - LATE AFTERNOON) 104

Nyah is on the balcony. Ambrose enters with two glasses of

same for you.. He laughs. She doesn't. NYAE ; Sean, there’s sozething I’ve been meaning to talk to you about.. Isn‘t going to be easy for me to s2y.

REVISED - 7/21/99 ~ YELLOW 83 104 CONTINUED:

: NYAM

I don’t know what to do about you, Sean. I’m more than a bit middled. I need tim.

: AMBROSIE To do what?

been a change of plans. .

tonight. Something's come up. I hope you

don’t mind. NYAH

Qh, mo, not at all. Maybe just a bit. AMBROSE

Ulrich will be about. He’ll look afrer NYAH

Lovely.

104A

1045

REVISED - 10/11/99 - PINK #£ 36.

Ambrose enters, slips off his jacket and hangs it over a -hair. Ke walks to a desk and brings up a corputer the Biocyte-iebsice and the McCloy infomercial. Stamp notes that Ambrose is ipcent en the computer and moves to the desk. .

STAMP ° I thought you were going to dinner.

computer) Rugh, take care of the Nekhorvich memory

Stamp leans over and pulls out the envelope. As he does;-he sees Ambrose has pulled up and started to play McCloy’s informercial.

CAMERA CARD PHOTOS (INT SHEEP FARM - ETHAN & CREW) 104B

a microscopic view of myriads of ugly green spiky objects amid exploding red ones. .

-

- ETHAN Chimera attacking human blood..

Que more shot. A lavender stained group of spiky object-—-<e exploding the green ones.

. ETHAN (cont ‘d) Bellerophon attacking Chimera..

On an adjacent screen is a frozen frame of McCloy looking thru the digital camera at the racetrack. BILLY Ambrose obviously got these fron Nekhorvich on the plane.

~

REVISED ~ 10/11/99 - prank #4767.

1045 CONTINUED: ' 104k

(OMIT 105-106) (OMIT 106A)

ETHAN , I don’t know, but Nekhorvich was not a maniac. Get me a twenty on Nyak.

(OMIT 105-106) (OMI. .«Q8A)

REVISED - 4/19/99 - BLUE re

107 BxT eae! (Ever

~ McCloy gets in the rear of the limo and lights up a cigar. “he limo cakes. off. Another car pulls out and tags valeng behing: he

Michael at the wheel. 209 <XNT LIMO MOVDR (EVE)

McCloy doesn’t lixe the taste of the cigar, goes to toss it cut but the electronic window button doesn’t work. He notices the

evening paper partially open on the seat. His neme leaps: out. He opens the paper. -

1us

world’s leading pharmaceutical companies, has died of a strébv ~;

and terrible strain of influenza..

Shocked, McCloy drope the paper, calling out:

“— The driver doesn’t tum around mcCloy can’t believe it. .He on chauffeur window. The driver turns on the air tioning in the-rear of the lizo.. McCloy clutches his cufwat

and passes out. 110 McCLoY (DIT ICU OMIT NIGET?

ains consciousness. ® got tubes coming out of every fice and is contained 13 tn the equivalent of a plastic bubble.

Drenched in perspiration and he looks around for a call butte Be grips the side of the bed.

. . CLO: oe Bloody , just. shut your eyes, shut your: eyea>

eer Pte Te.

os Opens them to look up thrs the plastic to wes:

i120

a uinmeving "Lace coming in and out of focus. MOCLO¥Y (cont’d) - I'll be buggered! ..What‘s this then?

(CONTIN. _

vy

2)

REVISED - 12/8/99 - YELLOW #4 69.

is on the phone. NYAH International, please. I‘’d like to make a reservation on the next available flight tonite.

The operator answers.

She hangs up, goes to the door. The house is eerily silent. POV STAIRWELL (NIGHT) 112 a play of shadows, the sound of the kitchen fridge. CLOSE NYAH - 113 Moves softly downstairs & hesitates at bottom, glancing about. NYAH Ulrich?..Ulrich!...

-e 23¢.

Silence. She goes into the kitchen. No one. She goes out the door.

REVISED - 10/11/99 - prxx #4 770.

214 OVER NYAH'S SHOULDER MOVING (EXT SYDNEY NIGHT ) 14

running pell-mell] down to the shore. Stops. Looks out; re’ tre small skiff moored at the end of the dock. It’s dark apd she decides to chance it. She moves anto the pier, trying. .~lide by the boathouse. A figure darts out and grabs her. She tries to scream but can‘t. The figure whips her around and she sees:

ETHAN

Easy, easy, easy, shhh! NYAH

Oh Ethan!..

She throws her arms around hin.

ETHAN

are you okay? NYAH ;

I am now. Get me out of here. Just get me out of here.

. 2THAN It’s going to be okay.

He holds her. °

MeCloy's strapped down, but manages to reach the call button and push it. Again and again.

McCloy stares at Nekhorvich for a long moment.

REVISED - 7/7/99 - TAN #2 71. CONTINUED: 115

Nekhorvich shrugs.

McCloy again looks at his vital signs om the monitor. He grips the edge of the hospital bed.

it as well. i

wen:

~ lee Ge .7F ; ‘ ; . REVISED - 10/11/94 = PINK #4 72-33,

125 CONTINUED: (2) ' -- Us NEKHORVICH You wanted the disease in order to peddle the cure.

A417

Nekhorvich heaves a sigh and rips off a latex mask, and the-yocal oscillator, revealing an exhausted Ethan. Angle widens to, include Luther and Billy in hospital greens.

Luther and Billy nod in disgusted assent.

holds tight in her embrace with Ethan.

(CONT:

REVISED - 10/11/99 - PINK #4 7¢..

117) CONTINUED: ° 117

He gives

go!.

her an affectionate smile and she reluctantly bejds back

to the house, her expression troubled, even suspicious ~-

Having just taken off the mask, Ethan stands with Luther & Billy.

°

. LUTHER (disgusted by what he’s heard) So Ambrose has Bellerophon and McCloy's got Chimera. BILLY

These guys are walking around with . different halves of the same dollar bill?

. ETHAN ambrose got Bellerophon from Nekhorvich on the plane, but he didn’t get the Chimera virus.

sell them anywhere.

. oe ts » i" - - La i . ees . -e

REVISED - 10/11/99 - PINK #4 TGA.

Ethan enters and tears off his mask, revealing Ambrose ~ *1led with implacable rage. He looks up to see Stam who’s been obviously waiting for him. Tearing off the voice oscillato. Leaning with both hands on a counter-surveillance monitox Sable he stares at the floor, his face a rictus of hateful inte. Sev.

Ambrose looks up slowly to Stamp who’s been standing by.

a)

REVISED - 8/24/39 + SALMON #3

CHAUFFEUR’S wWoNDOW (INT LIMO EVE)

being rapped on by the driver. MCCLOY

wakes with a start. The window’s lowered--Billy’s in livery.

It’s taking time to register. Then:

mMCCLOY - where’s George. My regular driver. Where is he?

Still dazed, McCloy manages to nod and exit the lim.

A@rives off.

CLOSE COMPUTER SCREEN BIOCYTE BUILDING BLUEPRINTS (INT - FARM SAFEHOUSE)

including all specifications.

Bitsy

Luther punches in and up comes a squat little island a hundred yards off shore, connected to the mainland by a wooden bridge.

Then:

~ )

REVISED - 4/19/99 - BLUE 73a]

120 COSTINCED:

~~

(Cont

REVISED - 8/2/99 - GREEN #3 - 76. 120 CCNTINUED: 120

As Luther speaks, the building - on his computer graphics; ..me with the BIOCYTE FHARMACEUTICALS ELEVATIONS AND RENDERINGS; is ~ being rapidly morphed to three dimensional existerice off tie

rendering specifications by Luther, as if the building itself were being constructed at a madly rapid pace, from its foundation to itB reinforced steel structure, to its honeycombing Qf floors, to its outer skin. Luther’s reconstitution of the building iot static, but moving around and above it even as he proceeds.

done here, in this lab on the forty-second floor, the heart of the building.

120-PT. BIOCYTE LAB

“Only about eight personnel -- chemists in lab coats, worxers in bio-containment suits, etc. -- populate the lab, passing through security doors and air locks, monitoring the virus stock, “Rading the injection guns, etc.

LUTHER’S VOICE Chimera itelf is kept in two places: in production vials in an incubation room and ~~, housed in a amall airtight chamber - inside three injection guns.

~~ .

BILLY’S VOICE Mate, you kill it in both places, we’re laughin’ and we go home.

120A WITH LUTHER AND ETHAN

No garage entrance. Lobby’ 8 protected by five guards on rotating patrol.

Ethan watches the rendition of the Biocyte lobby on screen. ; 121 CLOSE AMBROSE (NIGHT)

in overhead light, his eyes are dark pits, somehow underlyi.y the saturnine intensity:

REVISED - 10/11/99 - PINK #4 *7.,

The height and extent of the atrium are revealed, as well as its conclusion in a glass floor in the ceiling of the lab.

LUTHER’S VOICE

(unhappily) The atrium? One of a kind. Runs down the. center of thé building. Provides 24-hour natural light via mirrors and daylight storage cells. Optimal growing conditions for the virus. Ends in a glass floor which doubles as part of the lab’s ceiling. -

122 WITH LUTHER AND ETHAN Luther sees the glint growing in Ethan’s eye.

As the sun sets, the louvers of the atrium roof begin clésing.

LOUTHER‘S VOICE And if the louvers are open for more than thirty seconds at night, the Civil Emergency alarms are tripped. Those even I * you in and the cable out. °

. ETHAN Security?

REVISED - 10/11/99 - PINK #4 - 77a.

123 CLOSE AMBROSE (NIGHT)

Biocyte somewhere through the atrium where | security is minimal.. .

Suddenly there’s the roar of helicopter rotors.

124A

REVISED - 8/6/99 ~- GOLDENROD 43 7a

ETHAN (EXT SYDNEY NIGHT)

is poised, upside-down, on a cable against the Sydney skyiine. THE ATRIUM LOUVERS

begin to open.

WITH LUTHER (INT VAN NIGHT)

hurriedly working the atrium’s controls, hitting ‘ENTER’, repeatedly.

Luther begins the countdown. His countdown continues, ruming under the actidn and dialogue below.

LUTHER’S VOICE . nineteen. .eighteen. .seventeen...

(OMYT 128A)

Ethan streaks thru the beams of light toward the atrium floor.

c-

a

(OMIT 129A)

(OMIT 129C) 129D-PT CLOSE - LUTHER 129D-pPT

REVISED - 8/6/99 - GOLDENROD #3 79.

(OMIT 129a)

reaches the end of the cord, slows himself to a stop, and sees the security. guard through the window. The guard starts as he catches a glimpse of Ethan’s reflection in the control panels.

(OMIT 129¢)

Ethan swings himself up to the ledge above the guarda’s window, putting himself out of the puzzled guard’s sight.

LUTHER’S VOICE Gotta get that cable out. .

Ethan unhooks the cord and flips to the atrium floor. Ar alarm goes off. °

LUTHER’S VOICE (cont'd) There it goes..

Still confused and concerned, the guard doesn’t immediately react to the alarm or the ringing phone. He finally answers the phone.

GUARD #2’S VOICE (on phone) Ay! what’s the matter with you? Can’t you hear the alarm’s gone off in cosmetics?

The first guard gives up on what's confused him.

(scene 130 is below) (scene 130 is below)

UP ANGLE CABLE i32

being swiftly retracted toward the atrium’s opening as it closes.

)

. °- or ee wt BO

cen

REVISED - 10/11/99 - PINK #4 gg.

131 CONTINUED: ' 131 BILLY Retracting cable. LUTHER’S VOICE (low) three. .two..one.. (OMIT 131A) (OMIT. i31a) 132 UP ANGLE ATRIUM 132

The cable just makes it thru the atrium as the louvers close.

reaches down and presses a silent beeper.

130 WITH LUTHER (INT VAN) Sees a little red diamond-shaped light pop on his screer LUTHER Transponder activated..Reading package and cable is clear. (exhaling, relieved) He‘s on his way. Staring at the building’s control panels: 133 ETHAN (INT ATRIUM) _ hugs the floor just out of sight of the befuddled security guara. AMBROSE’S VOICE He'll make the attempt at the only possible tim for both of us, 1l P.M. - when the guards rotate ° and the building’s air-filtration generators go. active, covering the sound of his break-in.. 134 WITH LUTHER LUTHER : Ethan, the generators are about to go active. We’ll be out of contact for eleven minutes. (OMIT 135) (OMIT 32, 136 CLOSE GENERATORS 136

dark and silent.

nd

-

; 138A

REVISED ~ 8/2/99 - GREEN #3 el.

ETHAN AT BOTTOM OF ATRIUM

cuts into the glass floor, pops it out, and drops thru the: opening. None of it’s heard under the generators... -

Ethan drops onto the lab floor and heads across the lab a:n_up the ramp to the hot zone.

AMBROSE’S VOICE The frequency of the generators operate to our advantage - cutting radio commmication from his team for the next

eleven minutes..

Stamp, flanked by several of his team in Biocyte security—juard uniforms, crosses the lobby toward a pair of actual Biocyte security guards who appear more puzzled than alarmed at this

unexpected influx:

WITH LUTHER (INT CONSTRUCTION VAN NIGHT)

His attention is drawn to a spot on the grid where Nyah’s transponder blip, a circular yellow one in contrast to Ethan’s, is moving. Troubled:

, LUTHER .-in the building...

BILLY’S VOICE Say again. Sounds like you’re saying ° ‘she’s in the building.’

REVISED - 8/24/99 - SALMON #3 = 82.

AMBROSE’S VOICE ; Ethan does it the hard way to avoid confrontation. Neutralizing security guards is simply too distasteful to hinm..

The two guards who had greeted Stamp and his arriving team lie inert on the lobby floor.

AMBROSE’S VOICE I’ve never found that a problem...

141 WITH BILLY (INT HELICOPTER NIGHT) 141

Billy’s so surprised he momentarily gets loose with the copter and it banks off. As it and he recover:

BILLY

- right. Well, then. She’s not likely to be alone, is she?

LUTHER’S VOICE The question is ‘how many of ‘em?’ TI

can’t get thru to Ethan. Not ‘til the generators go off.

LOUTHER’S VOICE . Not for another eight and a half minutes.

142 WITH LUTHER 142

staring at the red and yellow blips in vertical alignment, the yellow one, Nyah, considerably below the red one, Ethan.

The door reads: DANGER: LIVE VIRUS: INCUBATION ZONE. EXPOSVBr IS FATAL. Ethan pulls on a protective mask from his pack and put a miniaturized recorder up to the voice print activator:

MCCLOY‘S VOICE John C. McCloy...

Ethan's buzzed into the hot zone. He steps into the air locxs.

A small bomb is placed by the dark gloves of someone unseon..

@ shadow falls across the dirt in front of the bumper.

~~!

147A

REVISED - 8/2/99 - GREEN #3 3.

A SMALL OBJECT . a5

with a digital clock face, its red LED illuminating descending numbers, is carefully placed inside the bumer. The magne on it doesn’t quite catch. It’s then placed more carefully.

Luther doesn’t pick up on the faint metallic sound just outrgide. He’s concentrating on the flashes on the screen showing the transponder rising in the building. Increasingly desperate:

and a security guard’s body lying in the corridor. A pain of trousered legs step over the body and into the elevator - teining Nyah‘s legs and feet, and other pairs of trousered legs. :«he elevator doors close.

AMBROSE’S VOICE If Hunt actually manages to squeak thru the atrium he’s liable to make it to Chimera before we will..

CLOSE LUTHER 220

on his computer screen the yellow dot continues its ascent, the two dots growing ever closer.

BILLY‘S VOICE How much longer before you can reach him?

: LUTHER Five and a half minutes.

. (looking at his chronometer) He’s breached the hot zone..

AMBROSE’S VOICE On the other hand we know where Hunt will be and he doesn’t know we're coming..

(OMIT 149) (

2151

REVISED - 8/2/99 - GREEN #3 e¢.

In front of each of three large television monitors is a rel, shaped roughly like a sealed beaker somewhere between one: and two liters in size. Each one is contained behind plexi-glas end rach one contains a transparent liquid of varying hues - one .gres-ish, one pale yellow, one sunset red. Behind them are monitors marked, respectively: WORKING SEED STOCK, MASTER SEED STOCK, IN VITRO VIRUS. Behind these is a monitor screen with a blow-up of “he contents of the vials & the magnitude of the biow-up - 950,600x.

These are X-Ray microscope blow-ups. i.e., allowing the viewer to see the motility of the virus and its metabolism, not dissimilar to an MRI this of Chimera in its three different cultures..

Ethan’s on the computer controls, racing thru to WORKING SEED STOCK, which calls for optimal levels of 6.9 pH and 11 Gegrees Celsius. He drops the pH to zero and punches up the temperature to a hundred. The effect on the greenish hue in the bottle is subtle but immediate - not so subtYe is the effect on the virus seeds viewed microscopically - they immediately appear agitated, their microscopic DNA innards

contracting and expanding.

Ethan moves on to the Master Seed Stock and the In Vitro Virus panels on the computer. The changes he makes are reflecté6 <on the digital monitoring panels before each viral container. ~

THE WORKING SEED 151

vial has begm to change colors from sea green to a paler .pea- green. The liquid itself begins to thicken: ,

Alert. Chimera-working-seed~stock-pH-and- temperature-level-outside-optimal range.

As the liquid grows more viscous the X-Rays have a progressively more difficult time penetrating the individual cells, resviving in a low humming sound which grows as the liquid gels.

Alert. Chimera-in-vitro-ph-and- temperature-level-outside-optimal-range e.

(CONT

REVISED - 8/2/99 - GREEN #3 85.

. —_— . J FIRST COMPUTER VOICE Alert. Chimera-working-seed-stock-pH-at- ww critical level. Alert. Stock-life threatened. Alert.. The X-Ray microscope shows the individual seed-cells stickiag together, some exploding, then all movement ceasing. The Higquid itself is suddenly shod thru fluorescent sparks before its congeals to an opaque mush. FIRST COMPUTER VOICE (cont’d) Alert. Chimera stock life..terminated.. . Simi taneously w with the seed stock, Ethan’ 8S managing both the working seed and in-vitro virus. (OMIT 153) . (OMIT 153) ~ ‘154 . WIDE ANGLE HOT ZONE _. a34 Ethan places a little plastique on a timer and runs up a ran to the decontaminant air lock at the back entrance to the hot -one. BILLY'S VOICE How’re we doin’, then? ~ LUTHER Ww He should’ve killed the virus in the J incubation area..Nyah‘s exited the elevator on the same level as the lab. BILLY’S VOICE What can we do, mate? LUTHER (staring at them) Hope he kills all the bugs before the ° _—, yellow dot gets to the red one. 155 CLOSE LUTHER’S SCREEN The red and yellow blips are now on the same plane. The xe low dot moves toward the red one as if drawn by a slow motion? magnet . . 156 DOWN ANGLE ETHAN as6 looking up.as his entire body is hit with air like he’s in-« wind turnel. When the air flow ceases, a green light goes on- COMPUTER VOICE oe Subject is contaminant free. Zero contaminant factor. Subject contaminant free. ~~~ 157 ETHAN - GLASS OBSERVATION ROOM

heads up @ ramp to the three injection guns. Hands in gloves, he reaches into the chamber for one of the injection guns.

)

161A

1618

REVISED - 8/2/99 ~ GREEN #3 86. CONTINUED: «187

He places the barrel of the gun, seals the chamber, and fires. There's a tiny flash of light. Ethan withdraws the gun.

Luther's sweating it as the clock counts down::30, :29, :28.. LUTHER» - twenty-seven, twenty-six, twenty-five,

come on, Ethan we’re almost there! .I-I‘m too sensitive for this..

In a spasm of anxiety Luther bolts to his feet, wipes his Brow.

Luther glances thru the van window only to see reflected the van side mirror: .

MIRROR REFLECTION CHROME BUMPER-EXT CONSTRUCTION VAN NI.

reflected in it is the face of a digital clock, its red L<«D illuminating the clock’s numbers fourteen - thirteen - twelve -

WITH LUTHER

Oh -oh - oh -

Even as he moans he’s frantically ripping out the computer, and, cords dangling, hotfoots toward the van exit.

Ethan fires the second injection gun. picks up the third: a |

last. He pauses as he’s about to fire it. staring intenti Suddenly the gun is held by:

BACK TO ETHAN - GLASS OBSERVATION ROOM

whose vision of Nekhorvich fades. Still thinking of Nekhorvich he cont snues to stare at the gun for another moment and before he can re:

REVISED - 8/24/99 - SALMCN #3 87.

The bomb’s LED readout shows 6, 5, 4, 3, 2, 1.. As.it reaches 0, @ small light on the bom» suddenly stops its incessant blinking.

explodes. Saw horses and dirt fly.

(OMET 162A) (OMIT 162A)

looks up just in time to see Ambrose and team arrive at the far end of the lab. They immediately open fire, shattering the room’s walls and the glass injection gun chamber. As the injection gun begins falling to the lab floor below, one of Ambrose’s team runs to grab it, but before he can reach it-he is

-shot by Ethan, who’s falling to the floor below. |

As Ethan hits and dives for cover, Ulrich goes for the gur Ethan shoots Ulrich in the leg. Ulrich hops back in pain-

Ethan’s crouching on the ground protected behind a series of vertical metal sheets.

Ethan moves to pick up the injection gun which lies in the shattered glass on the floor. Ambrose, Wallis, and a coupte of other Ambrose team members fire, kicking up broken glass. than

backs off.

Hold your fire, dammit!

The two spot one another in a mirror on the far wall of the hot zone...

Fighting a bit of a cold..

REVISED - 8/2/99 - GREEN #3 96.

CONTINUED : _. 263 AMBROSE And you're happy about that? ETHAN . . Beats fighting the flu, I’m here to tell you. e AMBROSE

You know, that was the hardest part of having to portray you. Grinning like an idiot every fifteen minutes.

Ethan has been using this exchange to ease a fresh seventeen

round clip into his weapon and he punctuates this last with a

spray of gunfire, attempting to cover his own effort to the reach

the injection gun. The return fire nearly hits the injection

gun. kicking up glass and dust and making it move around on the oor.

Everybody’s regained cover but the injection gun remains out of everybody's reach.

K )

y(

Noe

REVISED - 8/2/99 - GREEN #3 e9.

163 CONTINUED: (2)

Nyah walks out into view on her own.

the mirror. Enraged, but trying to control it:

ETHAN

Ethan sees her reflected in

She doesn’t belong here, Sean. Let her go.

A pregnant pause.

(OMIT 164)

LUTHER’S VOICE (breaking through the static) Ethan, Nyah’s in the building! do you

copy?

165 WITH LUTHER (EXT BIOCYTE) amess anid the rubble of the construction van.

166 ETHAN

" (aryly)

REVISED - 8/2/99 - GREEN #390.

u )

- AMBROSE Oh, Hunt, please! one can’t hold Nyah responsible for her actions ..

ETHAN

In other words, you’re calling her a flake. e 167 CLOSE NYAH listening. AMBROSE You know women, mate. Like monkeys, they

ws are. Won’t let go of one branch til ~ . they’ve got a grip om the next...get it, Nyah. I’11 cover you. Ambrose cocks his weapon.

AMBROSE (cont ’d)

_ I’m waiting. wv NYAH a (not much more than a body length from Ethan) This isn’t exactly working out the way you thought it would, Ethan. Sorry. Finger on the injection trigger. she rises and turns the barrel on her arm, firing. The sound of the air pressure pushing the virus into her is urmistakable, as is the circle of tiny puncture wounds on her skin. Nyah moves in front of Ethan, cove~ing him, ~~ as she turns to face Ambrose. 168 ETHAN is shocked by Nyah’s gesture but as she addresses Ambrosq@ «® resets to the ‘Countdown’ on his chronometer to twenty hours. As it drops into the nineteens: ° AMBROSE (frustrated in the extreme) co She’s been inching away with Ethan: NYAH You’re not going to shoot, Sean. Not pu this bitch. She's worth thirty-seven

million pounds.

\

168A

REVISED - 8/17/99 - BUFF #3 91.

CLOSE ETHAN’S HANDS

~ fingers press a red button on a tiny detonator. There’s:#.s<ight

heat flash from the hot zone and an explosion of gas and water -- the plastique killing any airborne virus.

Ethan uses the diversion to grab Nyah and run with her to ‘the far side of the lab, behind a high stack of horizonal cylinders.

Ambrose and team recover from the explosion and begin firing on the tanks protecting Ethan and Nyah, surrounding the two with fire and jets of released stean.

behind the stack of tanks. Ethan launches an explosive downa

. Short hallway, blowing a hole in the building’s exterior ‘walt.

170A

170B

A group of Biocyte security guards enter fram behind Ambros. team and catch them off-guera. All hell breaks loose.

This hits Ethan with the force of a blow.

; ETHAN No. NYAH

Then you'll have to kill me before it’s too late. Before I start killing people.

dl

REVISED - 8/17/99 - BUFF #3 91A.

1721

She puts Ethan’s gun to her forehead.

She looks back unflinching. He starts to squeeze the trigy-..

ETHAN °*

We’ve got 19 hours and 57 minutes before you start killing anybody. 1I’11 get

Bellerophon into your system before then. Just stay alive. I’m not gonna lose you.

Ethan runs from the cover of the tanks toward the explodes -wall. Once in the open, he exchanges direct gunfire with Ambrose-.«

team, wounding a couple men. He reaches the wall and dive» chru, Camera with him as he drops 25 stories, the sound of gu...ire in

the air all around hin.

Less than a hundred feet from the ground a small dark chute deploys and Ethan is lost from view beneath it.

(OMIT 173) (OMIT 173)

PANNING SHOT PAINTINGS (INT CULTURAL ARTIFACT ENTER) 174

of Aborigine paintings, eerie patterns made of man and nature, phantasmagorical, like the patterns that form under eyelids shortly before sleep. B.G. the haunting notes of a didgeridoo insure they’re not being overheard.

A

REVISED - 5/12/99 - BUFF 92.

174 CONTINUED: - 174

Swanbeck breaks off and turns to a somewhat battered ana narele- ‘weary Ethan:

- &

. SWANBECK ' (cont'd) - since it appears that Chimera, the mother of all nightmares is on the loose somewhere around here -— is there any wa this disaster can be viewed as a qualified one?

' buyer’.

: ETHAN Yee, T believe that’s right.

Ethan glances at his chronometer. Swanbeck sees it

‘\

REVISED - 8/17/99 - BUFF #3 93.

Ethan nods.

got - (glancing at the chronometer)

- 8 hours 57 minutes and twenty-three

seconds to destroy the largest remaining

source of Chimera on earth.

Ethan’s staring at Swanbeck.

did it?

neither can you, Hunt.. As the eerie wail of the didgeridoo seems to mount in volume and

intensity, the overcast sky filtering into the loft seems. particularly oppressive. Ethan’s up against it and he knows it.

(OMIT 175-176) (OMIT 177)

REVISED - 8/17/99 - BUFF #3 94.

) (OMIT 177) ~~ 178 A VIEW OF SYDNEY from harbors to skyline in all its sunlit splendor.

Nyah sits for a moment, looking steadily at ambrose. Ambrose pats the cannister he’s carrying.

Ambrose slaps her. With scarcely a flicker of hesitation she Slaps him back. Long pause.

“Ot AMBROSE God damn it, Nyah! Why did you do it? why did you save that bastard?

do it again. It doesn’t. Full of pain and rage, he gets out of the caz

—_ AMBROSE In just a few hours you can be assured of

going down in history as the typhoid Mary of Oz. G’day.

A nameless guard from Michael’s car idling nearby gets inte ‘the back seat with Nyah. Ambrose shuts the car door in Nyah‘s face, gets in Michael’s car and takes off.

Luther drops a tiny part into his computer board and, as he: tries to fish it out with the aid of a magnifying glass:

XN)

y

REVISED - 8/17/99 - BUFF #395.

left? ETHAN Ninety-seven minutes, twenty-seven seconds. BILLY Before we kill her or cure her.. LUTHER Right. ETHAN

Wrong. All we’ve got to worry about is © Ambrose. Nyah will take care of Nyah.

McCloy’s black limousine is in the car park.

ETHAN’S VOICE Confirms what Ambrose is gonna do -

Barrels of toxic materials line the walls, as an armed patrols the corridor, leading into the main chamber, where we follow McCloy into

LL )

REVISED - 8/17/99 - BUFF #3 96.

McCloy enters and begins pacing.

ETHAN’S VOICE (CONT’D) - who he’s doing it with, and where he’s gonna do it. :

(OMIT 179) (omit £79)

‘179A EXT - MOTORCYCLES AND LINE OF VEHICLES - DAY 179A

speed along an isolated road in close formation before turning onte a side road, revealed as leading to a bridge across a small strip of water to a small island.

. AS the cycles and vehicles cross the bridge and approach. the front gate, the camera swings around the side of the island.

establishing the geography and the six cannon emplacements. before coming to a stop on

scaling the seaward side of the island with minimal gear: (OMIT 180-183) ; (OMIT 180°283)

resting like a giant locust, half hidden by a cluster of trees on the bluff overlooking Bare Island.

Billy’s at the controls, with binoculars, maintaining surveillance of the island and environs.

In the back, Luther is at work on his GPS computer.

184A POV BARE ISLAND THRU BINOCULARS

Ethan climbs the side of the cliff.

)

REVISED - 7/7/83 - CHERRY #2 97. 285A CONTINUED: 18SA

BILLY’S VOICE . Ethan, Ambrose and his team have arrived

over the bridge -

Ethan reaches the clifftop and sees armed guards patrolling.

BILLY’S VOICE You all right, mate? From here it looks

like very heavy security. What's it look like from there?

ETHAN

Risky. He’s over the top and moves swiftly to cover.

Ethan surprises and kills a perimeter guard, then runs to 4 lergth of grating and lifts one of the panels.

Ethan climbs down through the grating in the roof of the tunnel. Using a bar to swing down, he breaks a second guard’s neck and

drops to the floor. (OMIT 166-187) (OMIT 166-187)

Ambrose and team drive through the entry gate -- passing its.

BIOCYTE PHARMACEUTICALS sign and various no-nonsense warnings of “No Trespassing.’ etc. -- before Biocyte security guards close it

ETHAN (quietly)

Breachea the structure at the ten o'clock grating. In the tunnel moving toward the. target.

Ethan begins heading down the tunnel. {OMIT 189) (OMIT 189)

Ambrose and team enter, where McCloy and hie CHEMIST and ACCOUNTANT are waiting. Ae Stam stands back, observing, and Wallis sets up a laptop, Ambrose walks up to a refectory—like table and stands opposite McCloy. Ambrose reaches into his coat and puts two cannisters on the table in frent of McCloy. McCloy’s chemist picks up the cannisters and inserts them into two chambers connected to his microscope.

REVISED ~ 7/7/99 - TAN #2 98.

190 CONTINUED: 2$0 CHEMIST Ic’s a DNA match. The blood’s loaded with Chimera.

An insert of the microscope plate shows the two samples, as Bellerophon destroys Chimera.

The chemist presses a button on the chamber and there’s a heat flash. The chamber red light moves to green. and there's a mechanical voice: ‘Substance destroyed.‘

The Kev cannister is out on che table.

you.

Ambrose doesn’t respond.

Asbrose picks up a mobile phone and dials.

(into the phone) - cut her loose. .right in the center of

town. .the more crowded the better... (punching off, to McCloy)

How quickly can you manufacture more of

the antivirus?

As he moves along the tunmel, Ethan suddenly flattens himself against a wall as he receives a transmission from Luther.

REVISED - 7/7/99 - CHERRY #2 $9.

392 CONTINUED:

LUTHER’S VOICE

Ethan, just picked up an Ambrose call -

Nyah's been dropped off. I think she’s ve.

(OMIT 193)

(OMIT 193)

Ethan hears something and ducks into a nearby cavity in the

tunnel wall.

As a guard epproaches, Ethan steps out of the

cavity and knocks the guard out, then throws him into the

opposite wall.

LUTHER’S VOICE Ethan? Do you copy?

ETHAN’S VOICE

*Somewhere in Sydney?’ Care to harden the

target? LUTHER’S VOICE

Can‘t. Until I can get the GPS up on our

computer..it’s still down..

Back to the matter at hand, Ethan completes the move on the

guard and knocks him out.

AMBROSE

Good. Biocyte stock is just a week or two

away from going through the roof.

193A

19383

133c

CONTINUED: 4306

In downtown Sydney for a start. MeCloy is stunned.

stealthily approach a couple dozen jittery pigeons, cooing and pecking. The intensity of their noise-making increases as Ethan reaches then.

Dv? - TUNNEL - OUTSIDE THE SLABHOUSE ROOM DOORS

Hearing the disruption of the pigeons, one of Ambrose’s guaxds leaves his post at the double doors and heads down the tumnel toward the birds to investigate.

rer ~- TUNNEL - OPEN AREA 133c

aAmbrose’s guard draws his gum and cortinues approaching the pigeons. Before the guard can see him, Ethan runs forward,

sends the pigeans into scattered flight, blinding the guard.

Ethan jumps into a back flip and double kicks -- first: knocking away the guard’s gun and then knocking him out and Flat on his. pack. Ethan comrinues his flip and lands right back | on his foct.,

.

AMBROSE

Which means, Mr. McCloy, we have to get our hands on four hundred and eighty thousand options. We’ll borrow your thirty million to buy those options. Your stock's never sold above thirty-one cpiiare @ share. we'll agree to buy at

ty.

/ (- ( 193D . 194 —_) ;

a

REVISED - 6/25/99 - SALMON #2 us: CONTINUED: . - 290

of my company!

- Ethan pulls a can of explosive material from his pack. H

rolls it towards the double doors, and it stops just beforc reaching them. Then. pointing his gun to the ceiling. he fires into the air.

hears a noise and looks to Stamp, who heard it as well. — Stamps nods to two guards to check it out. They head across: the room to the double doors. Lo

waits for the right moment before raising his gun and firing

at the can of explosives. Just as it ignites, the guards open the doors and are blown back by force of the explosion.

<a oe

REVISED - 7/7/99 - CHERRY #2 i102

'° 190 CONTINUED: 190

MCCLOY

Outrageous. I won’t let you take control

ef my company! AMBROSE

Sit down. You‘ll be a billionaire. Better

than being broke. I’ve got terrorists and

other pharmaceutical companies standing in

line. Ball's in your court, Mr. McCloy.

Ethan pulls a can of explosive material from his pack. He rolls it towards the double doors, and it stops just before reaching them. Then, pointing his gun to the ceiling, he fires into the air.

hears the noise of the pigeons in flight and looks to Stamp, who heard it as well. Stamps nods to two guards to check it out. They head across the room to the double doors.

waits for the right moment before raising his gun and firing at the can of explosives. Just as it ignites, the guards open the doors and are blown back by force of the explosion.

reacts and turns toward the axplosion. ‘ amidst the flames and debris, a single white dove comes flying into the room. and beyond it, Ambrose can see Ethan Hunt in silhouette walking Slowly past the doorway.

(OMIT 196-198) (OMIT 196-198)

runn down the tunnel. The guards move commando-style, directed by Stamp’s hand signals.

amprose loads his gen and drags the tip of the barrel along tke t e.

AMBROSE

We’re running short on time, Mr. McCloy. We’ve got to conclude our business.

REVISED - 7/7/99 - CHERRY #2 101A

S McCloy pauses only a moment befere nodding to his accountant. a) MCCLOY Yes, start the transfer. The accountant begins working on his laptop. . AMBROSE

(to Wallis) Follow it. Let me know.

REVISED - 7/7/99 - CHERRY #2 102.

pess a couple of doorways. A pigeon flies past Stamp’s face and he stops. As he turns, Ethan lowers himself from a hiding place in the ceiling. Stamp and Ethan pulls their gums on one another. They’re in a face-off until they both agree to drop their guns, but Stamp catches his in mid-air and points it back at Ethan.

Slowly.

As Ethan raises his hands, he pulls the pin on a grenade and then kicks it between Stamp's legs. The handle flies off: It’s live.

When Stamp looks down in surprise at the grenade, Ethan kicks out his gun.

Trying to escape the grenade, Stamp smashes into Ethan and seems to have hit him in the jaw. Both hit the ground as the grenade explodes, with Stamm appearing to have the upper hand.

(OMIT 200-201) (OMIT 200-201)

As everyone waits for the transfer to complete, the grenede explodes out in the tunnel. McCloy and his accountant freeze with alarm as a sprinkling of dust setrles on the room. .

STAMP’S VOICE Sean, this rat’s reached the end of the maze.

STAMP’S VOICE . More or less.

. . AMBROSE Bring him to me.

(OMIT 202-211) (OMIT 202-211)

REVISED - 7/7/99 - CHERRY #2 103-104.

— 4 (OMIT 202-211) (OMZT 202-212) ~~ 212 XINT - HELICOPTER BILLY AND LUTHER 212 Luther hes the GPS computer starting to access the satellite. BILLY (nervously) We’re due to take off. LUTHER . Not for seven more minutes.

checking his commuter screen, which shows the transfer has finisheds uccessfulily .

_w WALLIS Sean. Transfer completed. Stamp drags Ethan in. arms pinned with heavy tape. Stamp and Ethan look grimy as sandhogs after a busy day of tunnelling. AMBROSE _~ Well done, Hugh. Well done. Ambrose rises to examine his prize. ——Z MCCLOY (apprehensive) What exactly do you intend to do with him? Ambrose walks behind Ethan and kicks his kmees out from under him. Ethan falls to the floor.

~ LUTHER Ethan? Ethan? Do you copy? Luther hears nothing in response but white noise. He looks to Billy and indicates there’s no answer. BILLY Well, mate, maybe this is one of thoge times we shouldn‘t follow orders.

REVISED - 7/7/99 = CHERRY #2 105.

the rotor blades turn over.

Ethan eppears as if he wants to respond, but can’t. Ambrose kicks him again. AMBROSE (cont’d) Stop mumbling!

broke his jaw.

Ambrose has picked up a pair of Berettes, and is proceeding to lead both with full seventeen round clips. .

_ MCCLOY (anxiety mouncing) What do you intend to do?

Ambrose favors McCloy with a glance of genial exacerbation.

AMBROSE , You needn’‘t watch, you know..

Ambrose stsnding before Hunt with a pair of fully loaded Berettas. The sound of the helicopter grows.

Ethan indeed makes some comsiderable effort to speak but can only manage a few guttural, progressively desperate sounds which continue as:

4/14/99 106.

getting your gun off.

With that Ambrose empties thirty four rounds from the two

Berettas into Ethan whose body jerks crazily on the floor.

McCloy nearly faints, and Ambrose laughs at his squeamishness until something on Ethan’s body catches his eye: the top of the little finger on the right hand is bleeding. Ambrose grabs Ethan's face, and rips off a latex mask: revealing Stamp, eyes wide open and thoroughly lifeless. His jaw, under the mask had been taped carefully closed with the same heavy tape Ethan fad used to mount the drain-pipe shotgim on the tunnel wall.

He looks around, but ‘Stamp’ is gone. So is the cannister «nd kevlar vest that had been on the table moments before.

Ethan’s on the motorcycle, heading toward the gates, which air of security guards are frantically trying to close.

Billy and Luther in the copter are over the island, and bam §0 Luther can fire a grenade launcher and blow the back of Ambrose’s

boat.

The guards close the gate, Ethan runs the motorcycle up the hillock and jumps the gate, over onto the bridge. Ambrose follows in the SUV, crashing thru the gate.

They race across the bridge and the road, onto the huge greensward opposite to and similar in shape to Bare Island. There, with the helicopter hovering, Ambrose manages to cox..s Ethan and after they expend whatever ammunition their weapons’ hold, they move into each other bare handed and engage in ' ferocious, no-holds-barred combat, the helicopter hovering 10w enough to keep away whatever’s left of Ambrose’s henchmen, ké chopper's downdraft hitting them and flattening the grass aroynu them. Ethan prevails.

A SPECTACULAR VIEW OF SYDNEY

on bluffs overlooking the city. Camera moves slowly to the--, of the biuff. °

ew)

219A

2158

REVISED = 6/1/99 = PrNK #2 LOCA.

With Billy behind the controls end Luther leaning out the door, machine gun in hand, the helicopter heads toward Bare Island and approaches the gun pit and Ethan.

runs into the central chole’ area. guns in both hands and’.

wearing the kevlar vest. He rums toward the walled edge ‘ofc

2isc

21sD

219E

215F

219G

the enclosure and jumps. As he pulis himself up to the top of the wall, he sees the IMF helicopter approaching.

A gunman eppears from a tunnel entrance and opens fire, bullets exploding inro the wall around Ethan, who jumps

of the wny to avoid then.

is under fire as well, bullets spraying the windshield, driving Luther back inside and causing Billy to turn

chopper around, away from °

who rolls and returns fire at the gunman. 2&than first bite the gunman in the leg, and then shoots and explodes the

canisters behind the gunman, killing him. Ethan rolis away from the explosion, only to face a

BARE ISLAND HILL ~ MOTORCYCLE

bearing down on him as he stands up. Ethan just manages to Give out of its path before a second motorcycle comes up over the hill. Ethan twists and fires nis pistol, shooting the

second cyclist off his bike.

The motorcycle flies over Ethan and lands on the ground. | Ethan runs after the bike and jumps on, revving the throttle

and taking off. BARE ISLAND - PARKING AREA - AMBROSE

deploys ‘some of hie men via walkie-talkie while others scramble into their cars.

BARE ISLAND BRIDGE

A gold Falcon with several of Ambrose’s men inside exters the bridge from the mainland and speeds toward the island.

ya

/ c

.

219K

2192

2157

219K

219L

219M

218N

21390

219P

REVISED - 6/1/99 ~- PINK #2 19%.

More of Ambrose's men rush out of the complex and get intq their cars. :

BARE ISLAND BRIDGE ~- GOLD FALCON continues speeding across the bridge toward the island. BARE ISLAND HILL - ETHAN crests a hill aboard the cycle, the IMF chopper in b.g. BILLY’S VOICE They’re tracking you on the left, Ethan. Prepare for some fire.

BARE ISLAND ROADWAY

Michael‘s SUV and Wallis’ sedan speed along as a gunman frre: Michael's SUV fires on Ethan up the hill, spraying bullet:

around hin. BARE ISLAND BRIDGE - GOLD FALCON

approaches the island, a gunman out the window firing up at

x

en the hill.

The Falcon’s path to the island is cbstructed when the DF chopper suddenly drops in front of it.

BARE ISLAND HILL - ETHAN

lays on the cycle’s throttie, accelerates down the hill an. propels the bike into the air and off the isilans, just ac.

leans out the chopper's door fires a grenade launcher right at the

BARE ISLAND BRIDGE - GOLD FALCON

still on the bridge. The grenade eqilodes at the front of, the car and hurls the Falcon into the air and off the bridgx

BARE ISLAND ~ HILL/BRIDGE ~- ETHAN is im mid-air on the cycle, heading down toward the bridge.

Just as he lands, the gold Falcon flies off the bridge, and Ethan speeds through the flames.

ee

219P

oe

2199

219R

REVISED - 6/1/99 - PINK #2 Loc. CONTINUED : . gil9oP

: IWTHER’S VOICE It's still an intermittent signal. Just head north, head north.

Ethan approaches the far side of the bridge and speeds or

BARE ISLAND - BRIDGE 21399

Michael‘s SUV passes the front gate and through the flames ~f the Falcon explosion, followed by Wallis’ sedan and then

Ambrose, riding a motercyle. ROAD LEADING FROM BRIDGE - ETHAN

races up the road and rounds a corner to find a white Fallen. approaching, a gunman leaning out the window firing at hin.

Ethan turns to the side as it nears, and just as the white Palecon reaches him, he kicks up his cycle’s rear wheel and - rolls forward on the front wheel, narrowly avoiding the cada

As the Folcon pesses him, Ethan swerves the cycle and opetis. fire on the rear of the Falcon. spraying its rear and windshields with bullets and shoocing the occupants:

The white Falcon swerves off the road and smashes through .the railing, spinning out of control and crashing.

Ethan turns away and speads off, just as Ambrose comes around the corner on his motorcyle.

A SPECTACULAR VIEW OF SYDNEY . 220

on bluffs overlooking the city. Camera moves slowly to the-edce of the biutt.

%

eee .

~~

219A

2195

219¢

219D

2192

219F

REVISED - 7/8/99 = BLUE #3 107.

with Billy flying and Lucher ac the door, machine gun in hand, the copter nears the Sare Xsland gun pit and Ethan.

xuns into the central ‘hole’ area, gims in both hands and the kevlar vest. He runs toward the walled edge of

wearing the enclosure and jumps. As he pulls himself up to the top of the wall, he sees the IMP helicopter approaching.

A gunman appears from a tunnel entrance and opens fire, the bullets exploding into the wall around Ethan, who jumps out of the way to avoid then.

is under fire as well, bullets spraying the windshield, driving Luther back inside and caus Billy to turn the chopper around.

who rolls and returns fire at the gunman. Ethan first hits the gunman in the leg, and then shoots and explodes the canisters behind the gunman. killing hin.

Ethan rolls away from the explosion, only to face a

BARE ISLAND HILL —- MOTORCYCLE 2198 bearing down on him as he stands up. Ethan just manages to dive out of its path before a second motorcycle comes up over the hill. Ethan flips backwards and fires his pistol, shooting the second cyclist off his bike.

The motorcycle flies over Ethan, who runs after it and jumps on, revving the throttle and taking off. .

BARE ISLAND - PARKING AREA - AMBROSE 219F deploys some of his men via walkie-talkie while others scramble into their cars.

-r

an?

218G

REVISED - 7/8/99 - BLUE #3 108.

BARE ISLAND BRIDGE . 213G

A gold Falcon with several of ambrose’s men inside enters the - bridge from the mainland and speeds toward the island.

Ambrose’s man exit the comilex and get inte their cars. (OMIT 21ST) (OMIT 2197)

crests a hill aboard the cycle, the IMF chopper in b.g. ETHAN

Clear that bridge for me.

Prepare for some fire.

219K BARE ISLAND ROADWAY 219K

219L

219M

219N

2190

219)

Michael’s SUV and Wallis’ sedan speed along as a gumman from the SUV fires up on Ethan, spraying bullets around hin.

BARE ISLAND BRIDGE - GOLD FALCON 219%

approaches the island. Luther fires his grenade launcher. [ft hits the Falcon’s trunk, lifting its back wheels off the ground, but the Falcon keeps coming, its trunk ablaze. Luther reloads as a gumman leans out the window, firing up at Rthan on the hill.

BARE ISLAND HILL - ETHAN 219M

lays on the cycle’s throttle, accelerates down the hill and propels the bike imto the air and off the island, just as

again fires his grenade launcher, thig time at the front of the BARE ISLAND BRIDGE - GOLD FALCON 2190

on the bridge. The grenade explodes at the front of the car and hurls the Palcon into the alr and off the bridge.

BARE ISLAND - KILL/BRIDGE - ETHAN 219? is in mid-air on the cycle, heading down toward the bridge. Just

as he lands, the gold Palicon flies off the bridge, and Ethan speeds through the flames and off anto the mainland.

REVISED - 12/8/99 - YELLOW #4 109.

“Y

Michael's SUV arrives and tears through the gate and flames, followed by Wallis’ sedan and then Ambrose, riding a motorcycle.

races up the road to find a white Falcon approaching.

BILLY’S VOICE Ethan, they’re coming in at nine o’clock.

The IMF chopper arrives and gunfire’s exchanged. Luther takes a hit in the shoulder and drops his gun as the chopper banks away.

219R-PT INT - HELICOPTER - LUTHER 219R-PT

buther grips his shoulder in pain and falls back into his seat, jarring the GPS computer. It responds by beeping and coming to life. Nyah’s yellow dot pops up on the screen.

The white Falcon nears Ethan. He returns the gunfire and hits

the gunman and the tires. As it skids past him, he spins on his

bike's front wheel and fires, exploding the Falcon’s gas tank and : rolling it over. He speeds off as Ambrose arrives.

~~

y 219T INT - IMF HELICOPTER 219T

Luther bande: zs his shoulder wound and monitors his GPS laptop.

REVISED - 12/8/99 - YELLOW #4 110.

slightly slows the bike to concentrate over the static. ETHAN . You’re breaking up. Track ahead and pick her up. You’ve got me on GPS. Bring her to me. Ethan pulls out and throws away the earpiece.

Ethan heads downhill as the SUV approaches on an adjacent road. He pulls out in front of it, immediately drawing fire. Without Slowing, Ethan drops to the side of his cycle for cover.

watches his GPS laptop as the copter speeds over Sydney.

Wallis’ sedan appears from an adjoining road and pulls in behind Ethan, who climbs back aboard his cycle. Cut off, the SUV turns onto a side road to intercept Ethan.

Before an intersection, Ethan both revs and brakes, spinning the bike and creating a smoke screen. Wallis’ car enters the smoke.

Wallis brakes hard, but not hard enough: he stops just in the path of an oncoming 18-wheeler. His car’s demolished.

a

TZ

"4.

REVISED - 9/9/99 - TAN #300737)

Ethan pulls out of the smoke as the SUV bursts out of the ~Arub behind him, striking the rear of the cycle. Ethan puta itis bike into a spin and pulls his gun, ending up alongside the SUV-» passenger window. He fires through the window, shooting beth Michael and the bodyguard. .

The SUV veers off, crashing into a line of parked cars. ic nits the first car and flips up and over, landing upside down on several more parked cars. Ethan speeds off on his smoking cycle. Ambrose arrives and then takes a side road.

working on his GPS laptop. The range -- ie, the distance from the moving copter to the yellow dot, Nyah. on the edge of “he screen -- is reduced to about two kilometers. ° LUTHER (to Billy) Range is two kay.

Luther looks up from the screen to see the bluff of Norti Head at

the entrance to Sydney’s harbor. .

219¥ EXT - TREE-LINED ROADWAY - ETHAN

tearing down the road, when suddenly from a side trail Ambrose pulls out behind him and begins firing. Ethan weaves to avoid Ambrose’s fire and passes a car, pulling in front of it for cover. The car skids, forcing Ambrose to veer around it.

219Y-PT FROM COPTER TO GROUND (MOVING) 219yY-PT rapidly approaching the North Head bluff.

219Z-PT HIGH ANGLE NORTH HEAD

moving up behind Nyah who is walking purposefully to vas edge of the bluff and a precipitous drop to rocks and surf a hund 1 and fifty feet below. so

Camera drops to Nyah’s shoulder level and moves with her to'the bluff’s edge. As she’s just a a few steps away from stepping off, there’s a roar and the belicopter rises into the shot, before her a wild-eyed Billy gesturing, ‘Stop! stop! to Nyah.

REVISED - 12/8/99 - YELLOW #4 112.

Ethan passes narrowly between a car and oncoming truck.. Ambrose follows as soon as the truck clears. Ethan fires backward using his side-view mirror to aim, exploding Ambrose’s windscreen.

Ambrose skids until his wheel clips a rock, knocking him upright.

Ethan turns into a side road and speeds through open scrub. Back on the main road, Ambrose roars off to intercept Ethan.

On a clifftop clearing, Ethan races along as Ambrose moves to cut him off. They head toward one another.

LUTHER’S VOICE Ethan, we‘ve got her. Tracking to you now. We’re reading 5 minutes 19 seconds.

Ethan and Ambrose round a bend and face one another. Without hesitating, they charge towards each other. As they near one another, each leaps forward and off his bike, and they collide hard in mid-air. They fall to the ground fighting as their bikes skid and Ethan’s explodes, raining debris upon them.

Ethan and Ambrose rush toward one another. Ethan flips Ambrose to the ground. Ambrose pulls a gun from his ankle holster. As Ethan knocks it away, he loses his own gun and they both fall off a 30-foot cliff.

219BB-PT. INT - IMF HELICOPTER 219BB-PT. at top speed over Sydney. Nyah appears weak and shivers. LUTHER (to Billy)

Bearing two one zero. About 3 klicks. (into microphone) Ethan, we're moments away..

REVISED - 12/8/99 - YELLOW #4 113.

~»)

Ethan and Ambrose rise from the fall. Ethan jumps up and sweeps Ambrose, dropping him to the ground. Ethan begins strangling Ambrose but gets knocked off, and when they both stand, Ambrose gets Ethan in a choke hold.

Ambrose hits him and grabs a rock and hits Ethan in the midsection and the face. Ethan kicks it out of his hand and connects with several punches, knocking Ambrose to the ground.

Kneeling, Ambrose pulls a knife from a boot holster and cuts Ethan across the back and face. Ambrose dives on Ethan and the knife is poised above Ethan’s eye before Ethan grabs the knife and clears, holding it out toward Ambrose.

Ambrose swings again and misses, and Ethan delivers a series of - ‘kicks, leaving Ambrose stunned and barely standing. Ethan steps back, and with a running start, strikes Ambrose with a leaping

“y kick that drops him to the ground and knocks the knife out of his hand.

219CC-PT EXT/INT - IMF HELICOPTER - CLIFFTOP 219CC-PT

As they approach in the distance, Billy, Luther and Nyah finally gain sight of Ethan in hand-to-hand combat with Ambrose.

Ethan turns and walks away from Ambrose toward the cliff edge. The copter lands and Luther runs toward Ethan but pulls up, looking over Ethan’s shoulder. Ambrose has a gun aimed at Ethan’s back.

Near Ethan’s feet is his own gun, obscured from Ambrose’s view by dust from the copter. Ethan tosses the canisters to Luther and then kicks his gun up out of the dirt and into the air. He catches it, drops down and fires, killing Ambrose.

TY

REVISED - 12/8/99 - YELLOW #4 114.

{OMIT 220) (OMIT 220)

Ethan reaches Nyah at the copter. Inches apart, they can only stare silently at one another.

Didgeridoo music. A child admires a painting. Swanbeck and Ethan face one another. A long, long pause. For a moment it appears as if Swanbeck has lost awareness of Ethan’s presence.

ETHAN

I'd thank you -- but I’m not sure that was a compliment.

REVISED - 6/11/99 - YELLOW #2 “115.

SWANBECK ‘ Of course it was. Anyone whose operations require the levels of disinformation that yours do, is bound to get a little flak

_ here and there. You try flogging the stories to CNN I’ve had to come up with about what’s been going on around here the last few days. at any rate, it’s been most instructive -- what they’ll swallow. or what they'll broadcast with a straight face.

(picking up a file) °

Miss Hall’s blood, it appears, has absolutely no elements of the Chimera virus. Not evan anti-bodies. —

and that appears have been destroyed & to ve s : Ie also contained the anti-virus,

Bellerophon.

By fire. That's the best way, really. SWANBECK So you Gidm’t fail the mission, you simply changed it. . Ethan doesn’t respond. SWANBECK (cont'd) It’s no longer enough for you to execute

and implement Iu policy, you now wish to go in the business of creating it?

we

REVISED - 12/8/99 - YELLOW #4 116.

{OMIT 222A) (OMIT 222A)

REVISED - 6/19/99 - BUFF #2 222A CONTINUED: aA

x

REVISED - 8/24/99 - SALMON #3 117.

Ethan emerges to a very crowded street. Billy and Luther are waiting. Both look to Ethan.

(dryly, looking at Billy) And the check’s in the mail. -

Baird’s the name. Anything you need to get, move or watch, I’m your man.

And Billy’s gone. Ethan and Luther remain alone, both retuctant to say anything, both reluctant to leave.

One quick bear hug. then: LUTHER Always nice hearing from you man. Stay in touch. .

And Luther's off. Ethan looks after him, a bit wistfully. Then, curiously tentative he moves off into the crowd. After a half- dozen steps, something catches his eyes. He stops.

. NYAH (a tad wary) Do you know me? NYAH

is inches from him. Without batting an eye:

(CONT

REVISED - 8/24/99 - SALMON #3 118.

223. CONTINUED: 223 ETHAN No. Should I? NYAH ; No. You just looked as if you did. ETHAN

No...

She wraps her arms around him and kisses him with considerable conviction.

_He kisses her with a conviction that is more than 4 mat h for hers. 7

Looks around at the swirling crowd:

And in a moment they’ve vanished from the frame and into. the crowd. Camera begins to pull back, the bustling crowd ever filling the frame - and in the distance, perhaps, just a splash of a bouquet of flowers can be seen, appearing to bounce along on its own, the rising beat of the MI theme:

BEGIN CREDITS: IMP II - CHIMERA