"MR AND MRS SMITH" (2005)

WAR ZONE. BLACKENED SKY. COLOMBIAN COPS and SOLDIERS raid 6A buildings. POLICIAS ransack rooms. Through the madness, we

see a flash of...JOHN, sitting at the hotel bar with a

Mojito.

John sees the police incoming. Then...a vision, entering from the street: JANE. She glances up. Locking focus.

John and Jane swap a glance. NOD. The Policia moves on.

Jane shuts the door. They lean into it, LISTENING to SHOUTS and FOOTSTEPS subside. John and Jane relax. And... realize their proximity. A spark of adrenaline, attraction, mystery.

People rushing everywhere. John and Jane head down an alley. JOHN Varron ran this province for years. They’1l call it a local vendetta,

but the CIA’s been trying to pop the Baracuda since the eighties.

He leads her into a heaving basement dive. Sexy Latinos bump and writhe on the dancefloor.

A bottle of tequila is slid onto a booth table.

They lick the salt, slug back the shots. Bite the lime, then rise as one to SALSA. Fast, sexy, eyes fixed on each other.

Mosquito nets billow. Flesh twists, turns. Fierce, feral.

JOHN

I can hear your heart racing. JANE

I don’t want it to slow down. JOHN

Stick with me, it’s not gonna. JANE

Promise? JOHN

Cross my heart. She pulls him closer. Push in on a B&W TV in background: FRED AND GINGER twirl and skip, serenading each other in badly dubbed Spanish. And they DISSOLVE to COLOR IN--

OMIT

John and Jane snuggle close, watching Fred and Ginger sing “ANYTHING YOU CAN DO, I CAN DO BETTER.” The SONG wafts over-—

Rain patters. John and Jane walk home. Jane uses an umbrella to do a little Fred Astaire move. John smiles, clapping her on. He pulls Jane close. And they are moving in-~-

John and Jane slice through the action, sharing cotton candy. An ANCIENT BARKER works the FIRING RANGE,

BARKER

Aaaand step right up, ladies and

gentlemen! Try your luck.. Jane picks up the gun. She aims. BANG! The gun RECOTLS hard. She MISSES badly. John gives a condescending smile. She fires off another couple shots. Nearly pegs the Barker. John’s turn. He weighs the gun in his hand. He rolls his neck. And... FIRES! BANG BANG! Bulls-eyes. Jane is surprised. Impressed. He misses a couple for good measure.

He wins a small stuffed Boo Boo bear. He turns to go, but...

JANE PICKS UP THE GUN. She aims and squeezes off five rounds.

Jane walks along carrying an almost life-size Yogi.

John punches a bag, held by EDDIE, black, thirties. EDDIE

OK, slow down John. You've known this girl six weeks.

(CONTINUED )

PUNCH! Eddie grunts.

Jane and friend JASMINE, a good-looking young woman, hang off a spectacular crag.

John and Eddie drive a SPEEDBOAT through the river. They pass RIKER’S ISLAND. The city skyline beyond.

John slides in on Eddie at second base. SAFE!

(CONTINUED )

CRACK! John swings and hits a softball with the sweet spot of the bat clean out of the park. Eddie and friends are agog.

Jane and Jasmine in the back seats. Threading over the city. JANE Incredible. I’ve never known anything like it. But it’s not just about the sex.

John and Eddie sit together. John wears a jumpsuit. JOHN I look in her eyes and I see something so familiar. It‘s like I know her deepest, darkest secret..

JANE‘S HELICOPTER: BANKING OVER THE CITY — DAY

But aren’t you scared? I mean, it’s pretty risky stuff John.

John straps on his goggles. Gives a GO sign. JOEN Eddie, I’m tellin’ ya, when you

know you know. You just gotta listen to your instincts.

John leaps out. Eddie watches him FALL. A long drop. OMIT

John and Jane KISS at the altar, with Best Man Eddie, and Maid of Honor JASMINE. John and Jane keep kissing. Passionate. Eddie and Jasmine stand stiff. Hardly overwrought with emotion,

They all turn for a PHOTO. As they smile, SNAP! FLASH! The flashbulb sizzles, WHITING OUT THE SCREEN. Blinding white. Silence. Shackingly EMPTY, QUIET. We FLOAT DOWN to reveal...

TITLE: Westchester County. Five or six years later.

Expansive green lawns with patchy snow and ice. A suburban MAN in a bathrobe collects the newspaper. He looks up... It’s JOHN. Something’s MISSING behind his eyes.

A WOMAN rolls out of bed, wearing a loose nightshirt, her hair tied in a bun. JANE. The same dead stare.

John and Jane wear matching bathrobes with JS monograms. They brush their teeth at separate sinks. No eye contact.

JOHN

The 4pm appointment means we hit rush~hour...

John and Jane pass each other, slipping on their coats. They cross paths, without touching. They go their separate ways. We HOLD on the empty hall. A lonely beat. The sun sets.

PING! An oven door opens. Jane pulls out dinner.

A shrill WHISTLE. The commuter train pulls into station. Spitting out a sea of upscale suburban COMMUTERS. Same suits, Same eyes, same lives. In the thick of this crush...John.

John finds his parked sedan. A black Benz. In a mass of other sedans. Almost in unison, commuters climb into cars.

While other sedans rumble to life, John performs a ritual: he SMELLS his hands. Pulls out air-freshener. Sprays his wrists. Wrings his hands together. Then smells. Good.

Under the wheel, he slips his wedding RING out of a pocket, onto his finger. He checks pockets. Patting himself down fast. He STOPS when he sees what looks like red lipstick on his cuff.

He checks his neck in the mirror. A smear of blood red lipstick. Hmmm. Having an affair...?

John drives at the back of an endless line of sedans. He Grifts into the driveway. The garage door opens.

John spots Jane through a window. His HEADLIGHTS splash across her face. They wave, smile. But as John pulls into the garage, Jane’s smile slowly...fades.

Jane slides hors d'ouevres onto a tray. She glides out, turning the corner just as--

Front door opens. Jane stands there, tray of food in hand.

A peck on the cheek. Barely touching. JANE Oh, John, I got us a tree. Biggest on the block.

John nods. Not listening. Just moving, moving. Out. The back door slams. And “SILENT NIGHT” trickles over--

John moves across his trim back lawn towards his tool shed.

Tooltime. John’s tool shed is a mess. John sighs.

Boxes are tagged and filed. Jane slides out CHRISTMAS. She opens the box to reveal perfectly-packed ornaments, lights.

Jane places her ornaments on the MASSIVE TREE. Her hands move fast. Agile, graceful. Little angels dance.

SNAP! She CRACKS a string of electric lights like a whip. The lights wrap around the tree. SNAPPING into place.

John works his perennials, fixing stems. Kis big hands are slow, delicate, tender. Every stem, every petal.

Jane stands on a chair, reaching up to put her star atop the tree. But her chair is too low. So she steps onto the chair's

arms and LEEEEEANS, slanting straight up the tree. She drops the star on top. And hits the floor, as John enters.

42A

She hits a switch. And POP! The tree comes alive. Glowing.

FROM OUTSIDE, we SEE John and Jane and the tree. A perfect 42A couple. A perfect house. A perfect, Norman Rockwell life.

JANE IS THERE, ALONE, SMOKING.

Candles flicker. John and Jane sit at far heads of the table. Distant, cold. No eye contact. No emotion.

A hint of edge in her voice.

Weak smiles. Back to the food. A beat.

JOHN

Is that the middle?

(CONTINUED )

SCREECH! John pulls out his chair. He gets up. He grabs the salt. Heads back to his chair. Jane gives a tiny little smile. A small victory. John sits back down. And he...

DROWNS HIS MEAL IN SALT. Jane swallows her smile. We get a sense that every dinner is like this: cold, quiet, tense.

JANE

Over the years I feel our

relationship has progressed onto an

altogether higher plain.

The tree glows. John and Jane sit reading the Times. John reads the Sports section, Jane reads Home&Garden. She looks up, hearing something. Her eyes go to... John's LAZY-BOY.

He RATCHETS the SHIFTER ~- CLUNKS, SQUEAKS - like nails ona chalkboard for Jane. Her hands wrap tighter around the paper.

Now JOHN SITS THERE ON HIS OWN. JOHN I love my wife. And I love our life together. We both love the house, it’s our castle, I'd die for that house, but...

Forks scrape plates. John finishes his meal. Swallows, REALLY

struggling for something to say. Just as he is about to open his mouth, RINNNG. All eyes to the PHONE. Line Two.

(CONTINUED )

John locks the door behind him. He snaps up the phone. And his VOICE TRANSFORMS. Deep, strong, intense.

Jane eats dinner all alone. A heavy beat. Suddenly, RING RING! Line Three. Jane’s eyes snap into focus. Alive again.

Jane moves fast, smooth. Passing the door to the den.

John calls back in his "normal" suburban voice:

Jane closes the door. Clicks her laptop to life. INSTA- . MESSAGE waits ON SCREEN: TEDDY BEAR NEEDS COMPANY. HUDSON HOTEL. PENTHOUSE SUITE.

Jane types fast: BE THERE IN 45. I WANT GIFTS. The SCREEN replies: RED ROSES? She types: THREE DOZEN, LONG STEM.

Jane smiles. She hears...a CREAK behind her. She spins to see John in the doorway. She subtly snaps her computer shut.

JOHN

Sorry. Bad news. Looks like I gotta go into the city.

We SWOOP DOWN to John’s sedan. Sliding through traffic.

John parks his sedan. He comes out and hails a cab.

A yellow cab cuts through traffic. In the back sits.. JOHN.

He pulls out a small hip flask, unscrews the cap. On it is engraved “To Dodging Bullets. Love Jane.” He drains it.

® EXT. ATM/OUTSIDE CBGB'S CLUB ~ NIGHT

Two thousand bucks rolls out of an ATM. John pockets it and crosses the road, passing a black ‘69 Oldsmobile 442. Two young GUYS are leaning on the hood, smoking.

Hard music. Downtown NY crowd pulsing. John steps to a BOUNCER.

A card game is in progress. The bouncer comes close to hustler NELLY’s ear.

NELLY

Fuck it. Let's roll him.

Music pounds through the wall. All tense. John is now seated, playing.

(CONTINUED )

LEATHER JACKET

Call. BEANIE Call. GOLD TEETH Your hundred with two more. JOHN Call. GOLD TEETH

It‘s three hundred to call. JOHN It is? OK fold. No call. No fold. No. Yeah. Yeah. No. Fold. SKULLFACE Stay awake Casper. You want another drink? John sinks a scotch in one. Shakes his head.

A yellow cab pulls up. A woman slides out holding a black leather doctor’s bag. And...

She rides the escalator up. Lights hit: JANE. Sheer coat. Acres of legs. Out of the suburbs. And dressed to kill.

PING. Jane exits the elevator on the PENTHOUSE FLOOR. She glides down the corridor. At the last door, she knocks.

A huge Yemeni answers. She steps inside. Four more Yemeni, holstered, play backgammon, watch TV. A fifth guy, in a sharp

suit, sits on the telephone. He hangs up.

She opens it. A WHIP, ROPES, pink furry HAND CUFFS. He briefly frisks her.

ON A CHAIR, THREE DOZEN RED ROSES, LONG STEM.

They sit down on the end of the bed. He pours her a glass.

He whispers. She laughs and unzips her bag, removes her rope.

He sniggers.

She stands up and drops her dress to the floor. Black satin underwear.

John throws his hand in.

One of them sings the Overture. They all laugh. High fives.

Music pounding. We follow a girl with a tray of drinks back to...the game.

John drunkenly winks at the waitress as she leaves. Pulling out his two thousand dollar roll, he counts it off the table.

John reaches into his jacket, pulls out... a GRENADE. He pulls the pin and rolls it on the table. They all look at it in silence.

They all sit there looking at it.

Just as they react, John CROSSDRAWS two silenced P-39s and PIRES fifteen shots. It’s over in four seconds flat,

The back door opens onto PUMPING MUSIC. John walks back out through the club, smoking, wearing Nelly’s shades, BEANIE’s beanie, and LEATHER JACKET’s leather jacket. He tips the Waitress, walks straight past the bouncers and out.

He takes out a keyring and “plips” the doors...to Oldsmobile!

The two heavies get straight off the car.

He fires it up. Floors it.

the ‘69

John drives. He lights a cigarette with “the grenade”.

HAMED IS TRUSSED ON THE BED, ON HIS KNEES AND FACE,

JANE

Mummy 1s going to punish you. HAMED

Oh Yes. JANE

Because mummy is very, very angry with you.

(CONTINUED )

She puts her knee in the small of his back, her hands under his chin and jerks up. CRACK! HAMED falls dead.

62A NEXT DOOR: The Underboss looks at his watch. He glances at 62A the door. 62B IN THE BEDROOM: Jane pulls the covers over the body, and 62B

before leaving, draws a single long stem rose from the bunch. SUDDENLY the door opens.

JANE

Fine. Everythings fine. He’s pretty exhausted.. Dead to the world.

The BODYGUARD goes and lightly shakes him.

There is no answer. Jane is trapped. She unzips her bag. Same bunch of toys. The BODYGUARD gingerly pulls back the covers.

He swears in Arabic, draws his gun and turns just in time to have it SWIPED from his hand by the bullwhip.

Jane dives, catches the gun and discharges a single shot from a prone position. The BODYGUARD drops like a sack.

62C OUT IN THE CORRIDOR: The three bodyguards hear the shot. 62C

62D IN THE ROOM: The two guys look up from their backgammon. Two 62D others, watching the Simpsons, react.

62E BACK WITH JANE: With calm precision she whips out the big 62E rubber dildo and JAMS IT under the connecting door. It wedges SHUT. She grabs her bag, and races out onto the roof~terrace.

62F NEXT DOOR: The seven BODYGUARDS, bristling weapons, try to 62F force the door.

He pumps eight shots. The men BURST through the bullet-~ riddled door, and tear toward the open terrace door.

62H

JANE, AT FULL TILT along the roof terrace decking. She reaches a DEAD END. TWENTY FOUR STORIES, STRAIGHT DOWN.

Jane dumps the bag. Empty.

She unravels its fabric. WOVEN KEVLAR CORD. She attaches one end to the handcuffs and...

AT THE OTHER END OF THE TERRACE: The guards spot her, 62H standing on the rail. Seven beads are drawn and thirty bullets fly. Amd Jane...

JUMPS. VRRRRR, THE BAG UNRAVELS slowing her descent:

DOORMEN are hailing cabs when, in the background, Jane drops to street-level. She lets go of the cord and it bungee snaps

back up out of shot as she steps onto the sidewalk, striding straight up to the waiting cab, tipping the doorman.

We rise up as the cab pulls away into the ant hill of Manhattan.

John and Jane, back into their suburban selves. Hair, clothes, posture. They meet on their neighbors’ doorstep. Huge wreath on the door. Merriment ECHOES beyond.

John rings the bell, which chimes “DECK THE HALLS." The door swings open, revealing: SUZY and MARTIN CARLSON. They radiate with the glow of new money, bad taste, and good whiskey.

The Carlsons lead John and Jane through a sea of SUBURBAN COUPLES. MEN greet John with handshakes and backslaps. WOMEN greet Jane with air-kisses and waves. John and Jane smile. The perfect couple.

JOHN. Surrounded by INVESTMENT BANKERS. All smoking cigars.

INVESTMENT BANKER #1 I heard their stock’s getting butchered.

INVESTMENT BANKER #2 It’s a bloodbath. How’d you make out this quarter John? Ya take a beating?

They all laugh. We DRIFT THROUGH the party: IPOs, OBGYNs, sitters, Volvo, Vicadin. We SWIRL past a Christmas tree, to find Jane with

THREE MOTHERS, all holding BABIES. A mom fawns over a blue- eyed baby girl..the baby SPITS UP on her perfect pant-suit.

(CONTINUED }

"MOM Hold her a sec while I clean off? For the first time, Jane looks positively SCARED.

But it’s too late. Mom pushes the Baby into Jane’s arms. Jane holds the Baby awkwardly. Jane looks down into the Baby’s big blue eyes. So innocent, so pure.

Jane and the Baby just STARE at each other. Curious.

MOM #2

Babies see everything, you know. MOM #3

It's as if they can see into your

soul.

The Mothers nod. Almost conspiratorial. Jane looks NERVOUS. The Baby sizes her up. Eyes locked, focused, pensive. Eerie. Jane smiles weakly, trying to win the Baby over. A beat.

And the Baby.........smiles. Even giggles.

MOM #4 She likes you.

Jane smiles ‘back. A real, relieved smile. Through a haze of cigar smoke, she sees...John. They lock eyes. No real passion. A long way from their first glance. They both look a little disgusted with each other. Suburban suckers.

John and Jane. John GARGLES. Loudly. Jane eyes his THROAT. John spits. Rubs his eye, which makes a little SQUBAK. He looks at Jane, who gives a tight smile. Lights go out.

AR beat. Dead of night. In unison their cell phones ring.

Simple and windy. A Man, a desk, a phone. We see CLOSE-UPS of an eye, a hand, a mouth.

(CONTINUED )

We do not see John's caller.

Both hang up.

(CONTINUED }

CONTINUED;

LIGHTS OFF. They lie there, eyes open. Eyes closed. Jane pulls softly on the sheets. A beat. John pulls back. A beat. Jane pulls back. And we FADE OUT...

LOW MORNING LIGHT. Birds sing. Clouds waft. The world is good. John whistles a quiet tune, swinging a SNOOPY lunch box and rolling a travelling suitcase.

John locks the door. Stops whistling. He shifts his tool bench. Peels back the turf floor, revealing-

A SAFETY BOX IN THE FLOOR. He works a combo lock. Opens the box. Unlatches A TRAP DOOR HANDLE. He spins the handle. And THE FLOOR OPENS. He walks down stairs, past more locks into--

Lights flip on. Revealing...shelves packed high with cash... and AN ARSENAL OF WEAPONS. GUNS, ROCKET LAUNCHERS and EXPLOSIVES hang on walls like tools.

He chooses gear like he’s shopping at the Minimart.

The garage door glides open. John drives off in his sedan. Just another day in the American suburbs. As the garage door clicks shut-

Jane's eyes POP OPEN. She swivels out of bed. Moving fast.

Jane shuts the blinds. Switches her oven to CLEAN. She pulls it open. Hits digits on the touchpad. The oven BEEEEEEEPS. An alarm. Red light. A ten second warning.

Jane taps a series of numbers. The beeps stop. And the base

of her oven... SLIDES OPEN... revealing... Jane's arsenal: Sleek digital devices. Alloy, plasma. She loads up her purse.

29,

Jane drives off in her wagon. A bumper sticker on the car reads: NEIGHBORHOOD WATCH, KEEPING OUR STREETS SAFE.

John arrives outside an anonymous building. He enters the ground floor: A SMALL CONSTRUCTION OFFICE. SMITH DEMOLITION.

John walks through a totally normal office, piles of old junk mail, yellowing newspapers. He keys the next door. Enters~-

A shell. Old desk, two chairs, a phone. A black-and-white surveillance screen. And a FAX MACHINE. John grabs the waiting fax.

Revolving doors reveal...a woman in tight black suit. Short skirt, high heels. She steps into the light. JANE SMITH.

She glides across the ATRIUM. Enters an ELEVATOR. Doors close. And open...46 FLOORS UP. A flash reception area.

Jane walks down a dead end corridor with a Gaudia~Breska sculpture of a kingfisher at the end. She stops. Presses its eye. A black square appears in the wall. She leans into a retinal scan and the wall opens.

SURVEILLANCE TECH shifts. Jane’s body goes ULTRA VIOLET. All bones and curves. Scanning. The far door opens.

Jane enters a VAST METAL ROOM. Filled with the world’s most advanced technology. Flooding data. Live feeds. Warp speed.

The stations are run by TEN YOUNG WOMEN, All wearing the same cool black. Same cold stare.

CMIT

WE CUT HARD TO: LARA CROFT running through a snowscape with UZIs in each hand, shooting the hell out of everything.

Suddenly she falls through a hole, and plummets four~hundred feet, hitting the deck with a sickening CRACK on the CUT TO--

HECTOR DANZ, our weasly, middle~aged TARGET, sits playing Tombraider. He jerks his joystick.

Sitting opposite him on another couch, bored, is SPECIAL AGENT RODWAY. Rodway’s clearly been watching Hector be Lara all morning. The novelty’s worn off.

In the room are four other AGENTS. The windows are blacked out with photographic-paper. All the men are ARMED.

An AGENT enters and puts a Double Whopper in front of Hector.

FBI AGENT #1 Feeding time.

Hector doesn’t look up.

Rodway just stares back at him.

Rodway reaches forward, picks up the burger and in one bite, demolishes three quarters of it. He chews, crams in the rest, and chews for a bit. He swallows. Gulp.

Hector doesn’t give him the pleasure of a reaction. We sense this has been going on for weeks. Hector’s face MATCHCUTS-—-

HECTOR’S FACE ON SCREEN. Jane briefs her team.

A BREATHTAKING snowy ravine plunges down to the mouth of a huge frozen lake. Through the ravine runs a viaduct which vanishes into a mountain tunnel beneath us.

PUSH IN ON a FROZEN WATERFALL over the ravine. On it, hanging a hundred feet above the ground from two ice axes, is a lithe figure, dressed like a white ninja.

The FIGURE skillfully works its way to the top, negotiates an overhang and rolls onto an outcrop of granite shard.

Jane removes the ski-mask. Unsheathes a Ti Powerbook from her knapsack, and fires it up. Taps her throat mike.

Jane’s team speed towards the zone. Below, A CONVOY of unmarked cars approaches a border check. In the middle of the convoy is a heavily ARMORED VEHICLE. JASMINE

Situation is green. Repeat

situation is green. We SPIRAL down into--

HECTOR, opposite RODWAY. The men glare at each other, both weary from too many days together.

89B

Jane taps keys on her laptop.

ON SCREEN ~ a wireframe of the valley with three small green dots on the ridge. She clicks on them: THERMOBARIC CHARGES ARMED. The dots turn red.

WHOOSH! Ten feet above Jane, a huge BALD EAGLE breaks cover. Jane jumps, drawing a GLOCK. She watches the eagle soar out over the ravine. She breathes a sigh.

We GLIDE with the bird....two-hundred-yards to...

..- where, thirty feet below, a BLACK CLAD figure removes his balaclava and looks up. It’s John.

He pries the lid of his “Joe Cool” Snoopy lunchpack. He takes out a piece of Key Lime Pie. It’s very good.

BINOCULAR POV. About half a mile away, the convoy approaches.

NORTH :

Jane turns to see the eagle land across the ravine. Something catches her eye. She raises her imaging equipment.

ZOOM IN ON...A FIGURE, huddled behind a rock, in a halaclava, munching pie in the eerie green glow of her night vision.

Affirmative. Could be a birdwatcher.

(CONTINUED )

89B

89D

89E

SOUTH: John surveys the approaching motorcade. He chats to himself.

Still chewing, John heaves a JAVELIN CLU 76mm ROCKET LAUNCHER onto his shoulder. ;

He activates the laser sight.

NORTH: Jane sees a guy heft an enormous rocket launcher.

Jane watches, dumbstruck. JANE (CONT'D) There’s another player on the floor.

( CONTINUED }

89D

89E

89H

89T

B97

89K

CONTINUED: (2)

ROAD: The convoy rolls on, oblivious.

NORTH: Jane swings a silenced SA-80 ASSAULT RIFLE from a sling on her back into a firing position.

SOUTH: John LOCKS ONTO the TARGET CAR through the Javelin’s sight.

NORTH: JANE’S POV through the sight of the SA-80. John’s right temple in the cross hairs. She squeezes the trigger.

SOUTH: John shifts position just slightly, dipping his head as a high velocity 7.62mm SLUG RIPS into the branch behind his head covering him in snow.

(CONTINUED )

89H

89T

89K

89L

89M

89N

89P

NORTH:

SOUTH: John looks across the ravine. He sees a figure in the eerie glow of a laptop. He drops to the ground. Machine-like, he locks and loads a Swedish SKS assault rifle, kneels and

returns fire. THREE SHOTS.

SOUTH: Jane dives behind a rock, but her laptop slides away down the ice. She watches it spin around and down the slope.

JULIE

We've lost her. I’m blind. JASMINE

Come in Snow WHITE? JULIE

Nothing. I’m deaf and blind. Five

seconds.

NORTH: The convoy is right where John wants it. He tries to get on with the job but another shot zings off the rock.

He raises it again, just in time to see the Motorcade

disappear into the mountain tunnel.

NORTH: JANE’s POV. Target, in the crosshairs. She squeezes. A bullet hits him SMACK IN THE HEAD. He goes straight down.

She realizes her comms are down and glances as the last car

vanishes into the tunnel.

89L

89M

89N

89P

89R

89S

89T

89U

CONTINUED: (2)

She stows her rifle.

SOUTH: John is dazed. The bullet clipped his right ear. — 890 There’s a hole in the balaclava. He touches his hand to it. It’s bleeding. He slaps some snow on it.

John appears from his hidey hole, the Javelin on his shoulder. He fires it up.

PLUNK. The Javelin coughs out a massive heat-seeking warhead. thirty feet out, it ROARS to life, spewing out a sheet of flame, SCREAMING across the ravine at mach 3.

NORTH: JANE is transfixed. With no option, she drops off the 89R ledge into the freezing darkness.

The next millisecond the rocket slams into the snow-face. The snow explodes with WITHERING FORCE, throwing up a hundred foot ball of flame and causing an avalanche.

SOUTH: John looks down in awe at the object in his hand. 89S

NORTH: Jane falls through the avalanche, cars skid below as 89T snow crashes onto the highway. JANE hits the soft powder

hard, sixty feet below, loses her rifle and tumbles down the slope.

SOUTH: John waits for the smoke to clear, pleased with his 89U handywork, when he hears an ominous low rumbling behind him. Jane has DETONATED her charges. Blinking red.

BOOM! BOOM! BOOM!

John switches his headtorch on. The cliffs seems to be moving. A ripped tree trunk falls through the frame. ROCKFALL! John turns to see the mountainside rushing down to greet him.

He runs. CLIFFS explode. ROCKS tumble down at John. He slips, leaving the shot with comic speed.

CONTINUED: (3)

A CLOUD OF DUST swallows the screen. Then... BLACKNESS.

A beat. And John emerges coughing, BY THE ROADSIDE. Through the haze, we can see a THIRTY-CAR PILE-UP ON THE BRIDGE. It looks like a CAR GRAVEYARD.

Moving across the highway, John reaches the median, where he sees Jane: a small figure emerging from the avalanche snow- pile down the road. She heads into a tunnel. John pursues.

Lit with the crackle and flash of downed electricity cables. John enters a service corridor off the main tunnel.

John looks around. No sign of the figure. Then suddenly... a SHADOW drops down BEHIND him from above. JANE’s eyes blaze through the darkness as she attacks like a tiger.

A graceful spin and John’s down from a reverse spinning roundhouse. He goes for a gun but she hooks his hand between her ankles in mid-air, FLIPPING him, sending the gun flying.

John tastes blood, raises his fists. They circle each other. Feints, sudden moves. Black belt vs. Golden Gloves. Testing for weaknesses. Ju jitsu kicks at ankles, knees. John throws punch after punch, getting closer. She dodges but can’t stop his onslaught. She drops, cracks both his shins with a half- brick. He gasps in pain and falls to his knees.

Moving behind him she executes a neck hold, drags him towards a ragged steel pole sticking out of a discarded road sign.

John is choking. Jane pushes him towards the sharp metal point, inches from his eye. John spots his gun five feet away. Reaches behind and grabs the crotch of Jane’s pants. Squeezes. No effect. What?

He twists his shoulders and relaxes his arms. They both fall towards the spike but John angles himself, missing it and SLASHING THE BACK OF JANE’S SHOULDER. She gasps in pain.

Suddenly free, John crawls towards his gun. He spins and aims. Nothing. He looks around the silent darkness. Turns on his head lamp: something disappears back into the tunnel.

He is met by the blinding light of a NIGHT SUN and the wind and noise cf A CHOPPER. He just catches a glimpse of his adversary on a ROPE LADDER swinging under the huey before the CHOPPER opens fire with a minigun, forcing him back into the tunnel.

THE CHOPPER WHEELS AND FLIES OFF UP THE RAVINE

The Bald eagle soars in a blue sky.

Light snow. People clear the road with digging equipment. Eighty feet above. John stands combing the ground with a

metal detector. Suddenly we hear: BEEP. He stops dead. Steps backwards: BEEP.

John falls to his knees and starts digging with his hands. Soon he uncovers a corner of the laptop Jane dropped.

He opens the laptop.

John taps a single key and a smiley face pops up: PLEASE ENTER PIN CODE ****, His frown deepens when ten cartoon fingers start counting down. The smiley face changes to a frowny face and on zero puts its fingers in its ears.

The laptop explodes in a fireball which knocks John on his back, John looks up nervously at the snow above.

Follow John into an electronics bazaar.

Bits of computers, everywhere, An Indian girl, JAJI (18), gives the charred laptop the once over.

She looks at him incredulously. JAJTI Well it’s burnt to a crisp but it’s

clean. No serials. Whoever built it really wanted it to be untraceable.

She cracks the back off. Pokes around in the guts.

She bips the barcode on her reader. Info floods her screen,

JAITI

Chip’s Chinese, imported by Dynamix, New Jersey, retailed by Microworld, part number 090122.

{tapping away) We pull up the Microworld invoice from Talisman anti-theft network. Purchased 09/09/02, $85. AMEX number blah blah blah. Now all's you need’s the billing address.

John forks over a Benjamin. She taps up another screen.

Jane ENTERS. Pissed.

Julie hands her an open cell phone. JULIE

(mouthing) Father.

Jane takes the phone. Grim. JANE (into the phone)

There was another shooter on the scene.

Close shots. Only an eye, hand, mouth.

Jane closes the phone. Jasmine enters.

A shipping station for over sized packages sent by train. Imagine a roll up metal window, a single fellow behind the

counter and an endless room of boxes and crates behind him.

John stands yawning near the window when a girl in A BLACK SUIT AND SHADES walks casually and asks for BOX 5325.

A TIDAL WAVE OF BODIES. Associate #1 hands the note to ASSOCIATE #2, who heads away. What follows is like an expertly choreographed DANCE. Intricate, dizzying.

John fights through chaos to track the note, which moves from HAND TO HAND, woman to woman. #2, #3, #1, #3, #1...

It seems everywhere John turns...there are beautiful women. On the move. Smooth. Elegant in their precision.

John follows the note to the WOMEN'S BATHROOM. He hangs back.

A beat. And two stall doors open. TWO TWINS emerge. Meet Associates #4 and #5. They are IDENTICAL.

John waits. Associate #4 emerges. John takes a step. And STOPS. Because Associate #4 emerges AGAIN. No. It's #5.

John smiles, impressed. The twins split in opposite directions. John's head moves on a swivel. Which one?

He trails Associate #5. He beats her to a spot where he... LIGHTLY BUMPS HER. He glances down at her HANDS, which DO NOT MOVE. He looks out at Associate #4. His eyes ZOOMING to...

Her HANDS. FLEXED AROUND HER PURSE. And John KNOWS she has the note. He smiles. Moving fast to trail her.

Associate #4 enters. The exec elevator. John hangs back. He sees the exec elevator stop at 46. He turns to the building REGISTER on the wall. Runs his finger to floor 46:

EMPLOYNET COMPUTER TEMP AGENCY. His mouth drops. HE KNOWS THE NAME.

Jane plays a videotape of the hit in glow motion. She zooms in and out on the face. She notices an object next to him.

Jane reacts, thinking. She goes back to the image of the face and cleans the pixels. The image CLEARS. It’s still very blurry but Jane sees: a

familiar mouth under the binoculars.

Jane's brow furrows. Can it be? She gets close to the screen. A hard beat.

Jane turns quickly. Jasmine has a PHONE in hand.

Jane looks at the screen. Thinking, thinking. CAN IT BE...? JANE

Tell him...tell him I'm on my way home... Dinner will be waiting...

John hears the message. He slowly hangs up. Spinning inside.

Jane slips into a coat. A little shaken. Jasmine gets close. JASMINE Jane, you sure you want to go home in the middle of all- JANE I need to... Jasmine, I... {can’t explain, not yet)

I’ve got to go. I'll be back,

She heads out. Jasmine looks confused. Concerned.

Whistle blows. Doors open. John moves fast, beating the other COMMUTERS to the stairs. A COMMUTER chuckles.

COMMUTER #1 I want that guy's wife.

John fires up the engine. Does his ritual. Fast fast fast. He checks pockets, mirror. He sees a dab of blood on his collar (and we realize this was the "lipstick" earlier). He slips on his wedding ring with a hint of FEAR. He stabs the gas. SCREECH! Peels out.

John pulls into the driveway. He looks at the kitchen window. But no sign of Jane. His eyes Narrow, suspicious.

He parks in the GARAGE. Suddenly...the garage side-door POPS OPEN. Jane stands there, with a tray full of food in hand.

Perfection is suspicious. Jane opens John’s door, smiling.

John climbs out. Jane leans in for their kiss. SLOW MOTION. Eyes WIDE OPEN. On edge. Jane motions toward the house.

She turns. John's eyes slide up and down her curves, scanning for clues. Noting his wife's body. His eyebrows raise, really looking at his wife, for the first time in years.

Jane leads into the front hall. Shifting sideways, checking mirrors. Never fully turning her back. John unzips his coat.

44,

John tightens. But Jane slips off his coat. As she hangs it, her HANDS smoothly FRISK the coat.

The room is decked out. Candlelight. Romantic.

Jane holds the chair out for John. He sits. She takes the napkin, gives it the tiniest of whipcracks and lays it on his lap. John looks at her.

She walks around his back. He tenses. She skips out through

the kitchen door. John is left uncomfortably alone for a few seconds before she reappears suddenly with a steaming roast. She stands beaming. Behind her through the swinging kitchen

door John sees a bottle of Drainoe on the counter.

The carving knife lifts into view as Jane sharpens it. John watches her every move. The KNIFE glints in her hand.

John disarms her. She sits. Steel cuts flesh. John serves.

Silence. Jane returns. JANE Oh same ol’ same ol’. Actually,

there was a little problem, with a commission.

Jane rushes the net. JANE A double-booking. With another consultant.

John pauses, forkful in hand, sees Jane watching, swallows.

Jane sees a BANDAGE ON JOHN'S RAR. HIS KNUCKLES: faint ABRASIONS. A MEMORY FLASH: John throws PUNCHES in the TUNNEL.

BACK TO THE TABLE. John motions to the pot roast. JOHN Mmm. This is great. You do something new?

An intensity to his words. New meaning now. JANE You sure you don't want any salt with that?

John shakes his head. Eyes narrow, swallowing. Jane reaches out toward her glass. A clean, straight line. A MEMORY FLASH: A MATCHING MOVE FROM THE FIGHT IN THE TUNNEL. A perfect line.

RETURN TO DINNER. John swallows hard. Thinking.

JOHN

Had a problem with some figures. Something didn’t add up.

(CONTINUED )

CONTINUED: (2)

They lock eyes. JOHN (CONT'D) I almost forgot. I bought you a present.

Jane distrusts. Covers.

She opens the package, maybe expecting a trick. But what she finds is: a beautiful sleek black dress.

Jane slips her clothes off and slips the dress on. She looks in the mirror: it's beautiful. She turns: IT'S BACKLESS -~ across her shoulder is the SCAR from last night. She spins around. John is in the doorway.

He smiles.

10BA

He approaches her and steps close, their lips almost brush, millimeters apart. Jane spins around John, distracting him for a second so he completely misses his chance to look at her shoulder. She smiles.

She stays close, pushing her body against his. Locking eyes.

John holds her close. Behind her back, he looks at the reflection in his wine glass. The light catches it. And...

John drops the glass. We zoom in to the glass as it falls. AN AVALANCHE OF MEMORIES. LIGHTNING-SPEED, STYLIZED FLASHES span three seconds:

FLASHBACK: THE HOTEL IN BOGOTA —- DAY

John and Jane in the hall. Their first meeting. Approaching each other. John tucks in his shirt.

And we SWIVEL FAST AROUND HIM...to see him tuck a tiny revolver into his belt.

Jane smooths her skirt. We SWIVEL FAST AROUND HER...to see her slip a thin blade into her stocking. And we’re back at--

THE STREET MARKET IN BOGOTA. REVERSE MOTION. The bullet PULLS 108A OUT of Sancho Varron. Flying backward high-speed into...

The barrel of a gun. A quick flash of an EYE IN THE SCOPESIGHT. JANE’S EYE.

John looks into the same eye. Silence. His glass finally HITS the ground. SHATTERING. Staining the rug BLOOD RED. John and Jane push back.

He shuts the door behind him. Panting. Mind racing. A door SLAMS shut 0.S. John flinches. Ear to the door. Nothing. He rips open his desk. Hidden compartment. Pulls out a silencer, clip, pistol. THWACK. Gun assembled. On his hip.

Candles flicker. An empty room. John on high alert.

He moves from room to room. Blood beating. He hears: THE GARAGE DOOR OPENING.

A LIGHT SNOW FALLS. SCREEECH! Jane's wagon broadsides round the bend leaving a wake of snow. SCREEECH! John's sedan slingshots around the corner, onto the interstate highway-~

The chase is on. John and Jane weave through traffic. Jane's wagon shudders at the speed.

John gains ground. 90,95 MPH. Trying to gather himself.

She drops a gear and floors it. The engine roars.

John PUNCHES the gas harder. Weaving. He catches up to her. They SWERVE toward each other.

Great. Trash every car we own why don’t cha?

John swerves around a van and draws level. Jane sees the Silenced gun in his hand on the wheel.

She reaches under her seat and pulls out a Sig and high capacity clip. She locks and loads. John looks across.

He PUNCHES the brake, swerves in behind her. She stamps on the brakes.

John, tail-gating, sees the “KEEP YOUR DISTANCE!” sticker fly toward him. On impact, he accidently squeezes off a round. A

9mill slug ZINGS through his windscreen, through ten feet of

freezing country air, and through the Honda’s rear window.

Jane flinches as a round passes her ear, out the windshield.

She swivels in her seat and empties Ten Massive .45 calibre rounds behind her which SING into John's car. John eats passenger seat, showered with broken glass.

John accelerates and moves into her lane. His car is bigger, stronger. She BOUNCES away.

Jane opens fire again. John ducks down again.

He reaches over and pulls a plastic GAS CAN from the footwell. He tears off his shirt-arm, stuffing it in and screwing the lid back on.

JOHN {CONT’D) See how you like it.

CONTINUED: (2)

John puts pedal to metal. 115, 120. Edging ahead, he lights the fuse on his makeshift gas~bomb and hurls it out the window. It hits the center of Jane’s windshield EXPLODING on impact, wreathing her hood in flames.

Jane can’t see for fire. She stays cool, hunching down in her seat, swapping her hand for her foot on the gas. She braces both feet against the windshield and KICKS, it neatly pops out.

John sees the flaming glass cartwheel toward him. He BRAKES HARD, as it catches his side door. Jane smiles.

Frustrated, John FLOORS IT. Side by side, they lock eyes at 125MPH. A flicker of...electricity...attraction? John shouts.

Jane SLAMS HER BRAKES, as John SWERVES TOWARD HER. So... John SWERVES PAST THE FRONT OF HER CAR at 130MPH. He looks ahead to see: AN OFF-RAMP INCOMING. He fishtails. SMASH! He SLAMS INTO THE RAMP WALL. CRASHING through the concrete.

He swallows hard, shutting his eyes. As his car goes AIRBORNE! FLYING OFF THE RAMP. SOARING THROUGH THE NIGHT. NOSE-DIVING into the Hudson. IMPACT. SPLASH!

The car sinks fast. LIGHT hits the water. Jane stands on the bank: police maglight on her left shoulder, pistol in her right hand sweeping the river. No sign of John. A beat.

Still no John. No bubbles... She hears SIRENS. COPS incoming. With a last glance at the river, Jane drives into the night.

Water swirls. Beyond the waves...on the cther side of a rusty old buoy... John bobs. Alive. His eyes flash. Not so much angry as... IMPRESSED. Impassioned. Ready for war.

We hear a DING DONG on the CUT TO-~

Eddie slowly opens his front door to see: John, beaten, bloody, rancid from the river.

John sits opposite Eddie at the little breakfast table. looks like he’s digesting an albatross.

John sips a beer. EDDIE (CONT'D)

No I mean really. What are the chances of that happening?

What do you mean?

Sl.

Eddie

Eddie, please. John is dealing.

John stares at the table.

CONTINUED: (2)

Fresh carpet of snow. A PAPERBOY pedals his bike, throwing papers. A paper hits the SMITH HOUSE. A picture-perfect home.

The sweet suburban home has been turned upside down: Jane's girls check John's mail, trash, bills, boxes.

PHOTO albums cover the sofa. Jane picks up a photo of her and John. Tan, young, in Colombia. A hint of nostalgia.

Jane looks up. She tries to cover. Cool, professional.

JASMINE

Find anything...personal?

Jane knows what Jasmine means. Jane stays cool. JANE No leads. The mark covered his tracks.

Jasmine gets close. She picks up an old photo.

JANE

I don’t know WHO he is. Jane's voice rose. She catches herself. Composes herself.

Jane opens her mouth. But there is no easy answer this time. JASMINE (CONT’D) You know, you‘re not the firet girl in the world to find out her life's a lie.

Jane drifts through empty halls. Looking at her home...as if for the first time. She stops at a photo of her and John smiling at Coney Island. She hardens. And hears HER VOICE...

JOHN AND JANE ON TV. Jane's Associates sit on the bed, watching VACATION VIDEOS. John and Jane dance on a beach.

JANET

God. You look so...happy..?

Jane calmly walks over to the TV, ejects the video... drops it in the garbage can.

The women file out, exchanging looks.

The hanging bulb sparks to life. Women spread out. Popping open tool boxes, drawers. Jane hears something. Her own FOOTSTEPS. ECHOES UNDERFOOT. She KICKS down. More echoes.

Jane leads her team into...JOHN'S ARSENAL. They shine MAG- LIGHTS at...walls full of weapons, shelves full of stacked

cash. Jane looks around, deep in thought. Focused.

Associates load a black van with pillowcases and sheets FILLED WITH WEAPONS. They drop them into their black vans. On the sidewalk, two little HOPSCOTCH GIRLS skip past.

The girls smile, satisfied. Hopscotch away. Future killers. Jane stares after them. Closes the door on the empty hallway.

A myriad of monitors hums with energy. So does Jane. She paces behind her troops, eyes blazing.

priority people, Mark is a code- blue liability to the organization and we need to know his status. All eyes up. Everything: phone taps, credit cards...

Jasmine hands her a piece of paper saying “DO YOU WANT TO TALK ABOUT THIS?” Jane crumples the paper and glares.

Jane pulls out a MICROCASSETTE. It looks high-tech. But look closer. Jane plays the tape.

Smith. We're not at home right now but-

CLICK. Outgoing message. They all look at her.

Jane realizes she may not know her husband’s real name.

Jane is losing a little bit of her signature cool. JULIE Jane...I think he might have...

found us.

The women all slooooowly turn. Julie punches keys. Filling the screens with SECURITY SYSTEMS. A blinking red light.

SURVEILLANCE SHOTS fill screens. They see...THE ELEVATOR DOOR SLIDES OPEN. Empty.

Jane ZOOMS IN to the elevator to see... something on the floor...something gleaming...

John's WEDDING BAND. Inside is a single bullet.

On screen, they check FLOORS. HALLS. WALLS. EMPTY.

Jane punches keys for CEILING heat sensors. The program flashes a 3-D GRID of the vents. A thermal image MOVES though the vents.

The women see the DOT. They slowly stare up at the ceiling. Silent. Waiting for a sound, a move. SUDDENLY... RINGGGG! Jane's cellphone rings. She snaps it open.

Jane spins in place, staring up at the ceilings. Where is he? JOHN (ON PHONE) First and last warning, Jane. You

need to disappear. And fast.

A METALLIC BOUNCE OVERHEAD.

All eyes follow the sound across the ceiling...down the wall to...an AIR VENT where...A TINY GRENADE drops out. Across the floor. All eyes go wide. Milliseconds to death.

JOHN {ON PHONE) {CONT'D) Bang. You’re dead.

BOOOOM! The grenade EXPLODES! A blinding flash of light. Everyone scatters. The grenade spits RED SMOKE. Harmless.

CONTINUED: (2)

Jane keys a command. Stations ERASE HARD DRIVES. Sim cards are ripped from phones and files are stuffed in an oil drum into which a passing girl drops an incendiary. WOOF! Evidence gone. The women lunge out the back PRIVATE EXIT.

Jane is last in. She turns back. Watching to see through smoke and swirling debris...

John drops down from the ceiling. Hardware hangs on his hips and shoulders. An epic tableau. Just as he turns, making eye contact with Jane... CLICK. Her steel doors shut.

John steps back into the open elevator. He hits BASEMENT. As the doors shut, he sweeps his wedding ring off the ground.

Jane and team run out of their elevator. They head for BLACK VANS. But Jane pauses, HEARING something in the distance. Her eyes narrow, sensing...John.

As the girls pile into the vans, Jane steps into the flat expanse of the garage. Flickering fluorescents. Endless cars. She hears that sound, a distant CAR ENGINE, getting louder.

Jane holds a gun to her hip, tracking the ECHO, down rows of cars. She sweeps around a corner. But the floor is empty. She spins in place. A long, tense beat. Suddenly--

TIRES SQUEAL! A 4x4 powers around the corner. GATHERING SPEED. DRIVING STRAIGHT AT HER. John at the wheel.

He drops a gear and floors it. Jane assesses the terrain, raises her gun, stands her ground. A bull-fighter.

She steadies her aim. John bears down. 30 yards, 20... Jane stands her ground. Smiles. And FIRES! Straight at... THE HEADLIGHT. The headlight?

The light blows. And we FOLLOW the pulse of electricity... into the engine, pistons, circuits, red lights racing to... the STEERING WHEEL. Which EXPLODES! Into an air bag.

Jane sways out of the way like a matador as the 4x4 slides INCHES past her waist, SMASHING head-on into a pillar.

John SLASHES the airbag with a punch-knife and rolls out. Jane EMPTIES her clip at the truck. BANGBANGBANG! CLICK. John heard the telltale CLICK. He looks up, and sees...

Jane running down a ramp. She leaps over a divide between levels, hits the ground without breaking stride, racing to~-

Hydraulic car storage bins. Empty bins starts to COMPRESS. The roof lowers, leaving only a foot of crawlspace. Like a wide, metal coffin.

Jane leaps into the bin, which starts to RISE up toward street-level. Gears CREAK and HISS.

SUDDENLY! BAM! John's HAND GRABS HOLD of the far end of the bin. He pulls himself up, rolling in next to Jane. The bin compresses further. They breath in. Claustrophobia. The ceiling stops dead.

John and Jane lay on their backs. Side by side. Their noses touching the top of the bin. Trapped.

John tries to pull his gun. CLANG! His gun is in the OUTSIDE HAND. No room. The other hand flicks out his punch dagger. Jane spots this, grabs his hand and applies locking pressure to John’s wrist. He gasps in pain and drops the dagger which she retrieves and flips around in her fingers.

With no room to defend himself, John thinks fast and PUSHES his entire body against hers, jamming her arms by her sides against the walls. Body to body.

(CONTINUED }

Sweating. Breathless. Nose to nose. The elevator GRINDS to a halt. John eyes her body. Black skirt, stockings.

Sweating. Nose to nose. The elevator GRINDS to a halt.

CLANG! The elevator is RISING again. JOHN

I never knew you were saving your best moves for the field.

The elevator hits the GROUND FLOOR. The roof starts to rise. The second Jane has the space, she moves: in one fluid motion JANE SLIPS OUT OF HER COAT, PULLS IT OVER JOHN'S HEAD, blocking his view. SHE SLIDES OUT.

John tries to wiggle out, but he has to WAIT for the roof. He needs more leeway than Jane. He hops out. And sees-—~

A flash between speeding cars. Jane sprints through traffic, lunging into a black van. The van rumbles into the night.

Leaving John all alone. His gun hanging limp by his side. A long beat. The city pulses around him. And we FADE OUT.

John paces back and forth. Frustrated. Gun in hand.

John nods, thinking "she's not my wife, she's not my wife." Eddie gets close to John. He takes John's weapon. Serious.

John slowly nods. Ready to go. EDDIE (CONT'D) And Johnny. Bring a shield. A cover. Somebody to take that first bullet if she’s Locked and loaded in the EFucken chimney. JOHN Where the hell am I gonna find that kinda mark?

Martin Carlson opens the door. Wearing a chef‘s hat, and an apron that reads: HOT TO TROT. A total...perfect...mark.

Martin enters first. John behind him. Hand an his holster. MARTIN

I can’t believe I’ve never been in here before.

Martin is wide-eyed. John is equally wide-eyed. Moving through the menacing shadows of his own home.

Martin lets out a YELP. John quickdraws his gun, scans the room.

Martin heads into the bathroom. John moves FAST. He rips open drawers. Checks shelves. Swoops under the sofa.

John flips through clothes. He pulls out a drawer full of lingerie. He slowly lifts a NIGHTIE to his nose. INHALES.

Then his brow furrows, seeing...something in the GARBAGE CAN. He moves toward the garbage, and fishes out their HONEYMOON VIDEOTAPE. John's eyes narrow, burning. Harder, under breath:

John looks up. MARTIN (CONT'D) Come on. You can tell me. We’re neighbors.

John’s hand moves the back of his belt: a pistol. Martin nods to the nightie in one hand, the honeymoon tape in the other.

John notices...by the bed: JANE’S PHONE is at an angle, next to it: a depression in the bed where she was sitting.

MAN’S VOICE (ON PHONE) Lubetzky Real Estate.

Martin has drifted out into the hallway.

MAN'S VOICE

How's the new space working out. John’s smile slowly blossoms.

Sun bounces off this state-of-the-art skyscraper. 70 floors. READY TO LEASE. LUBETZKY REALTOR. Way down on the street...

John stares up. Wearing a hat. Carrying a briefcase. He checks a scrap of paper. The address. Floor FIFTY.

Numbers rise towards 50. 47, 48, 49....and 50 fails to light. 51, 52... The car suddenly STOPS between floors. The speaker crackles to life.

MALE VOICE

This is security, there seems to be a problem with your elevator sir.

64,

John looks for a camera, finds one.

; MALE VOICE (CONT’D) Do you need an engineer to come up to see what the problem is?

A beat.

John looks at the securicam. What? Our CAMERA PUSHES FAST THROUGH the elevator shaft into-

Jane and team at their makeshift command center with surveillance footage of John on-screen.

Jane speaks into a mic, with a VOICE MODULATOR (a pager-sized device) transforming her voice into a MALE VOICE.

John smiles.

She switches to her voice.

(CONTINUED )

© John pulls on the doors. No luck. He looks for an out. He Sees an EMERGENCY HATCH on the ceiling. Too HIGH.

The penny drops. John looks around him.

Jane gives a little sliver of smile. Cat with mouse.

John checks the emergency hatch again. Teo high.

Jane smiles. Slightly...impressed.

CONTINUED: (2)

Jasmine leans in. Urgent, impatient.

A beat. John gives a little smile. Bold, defiant.

John takes his belt off and wraps it around one hand.

John looks into the camera. He makes a little move. A bow and a wave. Jane smiles softly, despite herself.

A half beat. Memories swirling. Jasmine glares at Jane.

(CONTINUED }

CONTINUED: (3)

Jane's finger HESITATES over the COMMAND ENTER KEY. She shuts her eyes. Her finger millimeters above the key. John smiles.

BANG! BANG! BANG! WHHHHHM! JOHN'S CAR FREEFALLS! The two~-ton elevator DROPS AT WARP SPEED. A deadly bullet. John is THROWN off his feet. HITTING the roof.

John GRABS the surveillance camera. His skin ripples from the speed. He smiles, blows a kiss. And WHAM! HE SMASHES IT! STATIC HISSES.

Jane sits frozen, her finger still hovering above the button. She looks around the room. WHAT THE HELL HAPPENED?! She sees...Jessie’s laptop flashes: RELEASE. Jane’s eyes blaze.

With the CAR PLUMMETING, John KICKS open the EMERGENCY HATCH and LUNGES OUT onto-~--

THE ROOF of the FALLING ELEVATOR. John WHIPS his BELT AROUND THE CABLE. The cable runs through at terrifying speed making the leather smoke. Below we see the severed counterweight cable unravelling and SNAKING ITS WAY UP THE SHAFT. John braces himself. As the tip of the parted cable passes like a wire ball, it catches his belt, pulling him up.

HE SCREAMS IN PAIN AS HE EXPERIENCES MASSIVE G-FORCE. Having aropped nearly 30 floors he now flies upwards 40.

But John HOLDS TIGHT, RIDING the snaking cable UP through the shaft as the elevator falls away beneath him, filling the darkness with the sound of WHISTLING METAL. As he nears the top he sees the cable ripping through huge smoking pulleys.

He braces as he reaches the pulley. The belt gets pulled through, WHIPPING John UP into the GLASS ATRIUM! WHAMM! He HITS HARD. Bone-cracking loud! The glass spiderwebs. John winces badly, falling to the...

CATWALK, where he sits splayed out. His body broken. But his eyes sparking. Energized. Alive.

BOOOOOM! IMPACT! Two tons of SPEEDING METAL HIT the ground.

The building SHAKES. Jane's team is moving. Jane stares at her static screen. Rocked, dizzy. Jasmine grabs her.

People gape at the elevator crash site. Twisted steel. Nuclear damage. Jane and team emerge from the stairwell. Jane approaches the wreckage. She sees a SCRAP of John's belt in the smoldering rubble. She blinks hard.

Jane is pulled into the crowd, as SIRENS SWELL. Police lights dance across Jane’s face, slowly FADING INTO--

Glittering Christmas lights. New York's most decadent digs.

A MAITRE'D leads us through this flashy, ultra-chic mecca.

Jane wears the new dress. Something missing in her eyes.

Jane sits down at a table for ome. She stares around the room. COUPLES, FAMILIES, in love. She sips her champagne.

Very much alone. On Christmas Eve. A single tear rolls down her cheek. She gulps her champagne. Reaches for the bottle.

She turns slowly to see him. John. Across the table. Ina suit. Smiling. Gorgeous.

Jane is blown away.

outside.

The waiter comes over to ask if he should set another place. Using the distraction, John grabs a napkin in ONE SEAMLESS MOVE, shifts under his coat, snatches a GLOCK with one hand, drops it into his lap and wedges it under the table.

Jane knocks her handbag off the table and bends over to pick it up PALMING a silenced FINGER-GUN in her left hand and whipping it across the table to hide under a napkin.

JANE

Hands on the table?

A beat. John nods. They both slowly put their hands on the table. John pours more champagne. He smiles. Broad, warm.

CONTINUED: (2)

Jane hardens.

He motions to the dress.

There's no such thing.

A waiter comes over.

They keep eyes locked.

CONTINUED: (3)

A band starts and they look up: people dancing. John and Jane's eyes lock, thinking the same thing.

They stand like they’re starting a fight. John pulls Jane close. SLIDING his hands up and down her body. The hottest frisk in history.

She spins him around and shoves him up against the wall checking his waist and coat.

Jane leads him to the floor. John looks at her.

JANE

Happy endings are just stories that haven’t -finished yet.

Jane pushes him onto the dance floor and yanks John close.

72. |

They are nose to nose. Jane leads a hard, heavy waltz.

JANE stops on a dime. DIPS John. CRACKS his back. She unclasps her hair. The locks fall. Framing her face beautifully. For the first time in years, her hair is down.

John licks his lips. And BOOM. They DANCE. Swirl across the old wood floor. Pushing faster, harder. Fluid. Graceful. Brilliant. Other dancers stop to watch.

She could be describing John. She hits a mark. WHAM! Edge of the floor, John spins her around. Taking the lead.

JANE

She danced every step he danced. But backwards and in heels.

Offended, Jane BACKPEDALS FASTER than John can dance FORWARD,

WHAM! He spins her, getting close. Intense, real, sweating.

all his.

JANE

I could ask you the same question.

They stop dancing. A little dizzy.

Silence,

JOHN {CONT'D) You didn’t say anything.

CONTINUED: (2)

They look at each other, COMPELLED. Bodies close. Jane looks as if she’s about to break. John moves towards her. Gorgeous. Closer, closer. Jane turns away, toward a WAITER.

John watches her walk away. Jane follows the waiter. She turns the corner.

Jane pulls out wads of toilet paper, a garbage can in her other hand. A COIFFED WOMAN stares at her.

John waits. He starts to look concerned.

The Coiffed Woman from the bathroom comes RACING OUT, looking concerned. Suddenly, the FIRE SPRINKLERS go off, raining Water across the restaurant. PEOPLE start panicking.

John smiles, as he is engulfed by the crowd. THE ENTIRE PLACE EXITS TOGETHER. He glimpses Jane escaping through a sea of people. John tries to get to her, but he is jostled out to-

John, soaking wet, looks around. Nothing. FIRETRUCKS swarm, SIRENS swell. A dog barks at John, straining at its leash.

A HORN BEEPS. John looks up and sees...EDDIE.

Eddie and a damp John drive along.

John holds his finger up. They sit in silence for a few Moments. Eddie leans over.

John frowns, listens.

John quickly rips off his jacket, THROWS it out the window.

EXTREME CLOSE-UP OF TINY PULSING DEVICE IN POCKET.

John’s jacket bursts into a BALL OF FIRE as the tiny incendiary detonates.

Eddie looks at John.

Eddie gets out. John slides into the driver's seat. EDDIE (dead serious) Your name's on the docket at dawn. Open contract, class one. You need to finish this. And fast... It's time to clean house, brother. John slams the car into gear.

Her phone rings.

I want you to know: I'm going home, and I’m going to start burning everything I ever bought you.

Jane gives a dangerous smile, thinking about home.

Jane SPEEDS through traffic. Jane’s eyes are hard, narrow, focused. Jane’s cell RINGS. She grabs it.

He doesn’t exactly know. Traffic is a BLUR in their windows, as if there is no more outside world. Only John and Jane.

Jane is caught off guard. She pauses.

Jane’s eyes narrow. Suspicious. Is this strategy?

Jane softens slightly. But she holds tight.

Jane fights herself. Struggling with the truth. JANE I thought...I thought...that is the most beautiful...mark I have ever seen,

John nods to himself. Getting focused.

All business. Cold...hard...math.

John gives a sad, little smile. Resolved to fate now.

He hangs up the phone. His armor is on. He punches the gas.

Home Sweet Home. John races up first. Jane is hot on his heels, crossing the front lawn, T-boning his car, sending it flying into a wall.

Jane continues down their driveway, as John hops out of his car, leaps over the hedges, past Jane’s deserted car, into-~

John rips open his trapdoor. Drops down to his secret room. But finds...empty walls. Stripped bare. He stands gutpunched.

On the prowl. Assault mode. Jane sneaks through their house, searching for John.

John runs topside, carrying huge GARDENING SHEARS. His only weapon. He sees...the back door opens. And Jane emerges, strapped with JOHN’S HARDWARE. She raises two guns.

A moment of truth. A half beat. Can she pull the trigger? And the answer is...

A RESOUNDING YES. She OPENS FIRE. Bullets fly by John’s

ears. He leaps down into his garden. Hiding in rows of flowers. Jane FIRES SILENCED Glocks. EATING up the flowers.

{ CONTINUED)

CONTINUED :

John crawls in the dirt. His precious flowers rain down. Roses lay dead. John tightens. Amped, desperate. He crawls through the dirt, crouch-running through a side~door to-~

John moves lightning-fast. He pops open a false bottom in a cigarbox. Grabs metal pieces. Quickly assembles a revolver. SMASHES a flashlight open. Slides out a silencer. He exits.

Jane sees John. She FIRES FAST! Bullets rip up the walls. Framed photos shatter! Jane chases John into--

John FIRES back. He whips open the refrigerator. Jane enters FIRING, but her bullets POP OFF the SUBZERO steel door. She pushes past the door, chasing John's footfalls into~-

John AIMS UP on the run. FIRES at... THE HANGING CABLE... attached to the CHANDELIER. The cable SNAPS!

The chandelier DROPS! Straight down at Jane. CRASHLANDING at her feet. Jane hops the wreckage, lunging into--

The tree blinks. Mistletoe sways. The world is well. Jane emerges, spinning, with gun-hands stretched in both directions, covering all corners. No John.

WE SEE JANE FROM BEHIND. JOHN'S POV from behind a rolling bar. He has a clean shot. He pulls back the hammer. CLICK.

Jane's eyes flit up. In the mirror, she sees the rolling bar...ROLLING. She spins. FIRES! BLOWS the bar to shrapnel.

John lunges away, taking cover behind a chair. The green LAZY BOY. Jane smiles darkly.

BAM! BAM! She FIRES! The chair EXPLODES! John rolls out. JOHN

You killed the Laz-E-boy! That's it.

John opens up, blasting her cabinet FULL OF CHINA: IT SHATTERS with a DEAFENING CRASH! He smiles.

Jane's eyes narrow. THIS IS WAR. She picks up a trophy and holds a gun to the golfers head.

Jane smiles darkly. PTINK! She blows its head off. John holds out a carriage clock. A cruel smile. Jane stops. JANE No, John, that’s been in my family for generations. It's an antique. JOHN The tick on this thing. Always winding it and setting it.

John lofts it up into the air, Jane leaps for it. John blasts it and springs and cogs and glass rain down.

Jane FIRES another volley at John. John spins away. Jane blasts the couch. BOOM! She shotguns an ugly Budweiser mirror. Blasts the TV. Blows some model cars off a shelf.

She spins, reloading. Her eyes searching for John. Dust and feathers hang in the air. A strange silence. And...

John peeks out from hiding. He has no clear shot on Jane. So he aims BEHIND her. And whispers...

BANG! He shoots her CHRISTMAS TREE. SPLITTING its trunk. TIMBERR! It tips, falling. STRAIGHT AT JANE.

She leaps away. Onto a broken chair. Exposed. John FIRES. BLASTS the chair. Jane falls. Her gun SLIPS OUT OF HER HAND.

(CONTINUED )

Bl. CONTINUED: (2)

As John rolls out, Jane eyes move desperately. She RIPS a string of Christmas lights off the ground. And SNAPS! Lashing John's hand. His gun flies across the room.

John and Jane lunge in opposite directions. Toward each other's guns. John grabs Jane's. Jane grabs John's. And they spin to see...

A GUN IN THEIR EYE. FACE OFF. The Moment of Truth.

Dust and debris waft around them. Trigger fingers tighten. They circle each other. Their eyes locked. HAMMERS COCKED.

And CRACK! A frame falls. On instinct, they GLANCE. And see ragged photos and mementoes strewn everywhere. Their life stares out at them. Their home. They lock eyes again.

Eyeball to eyeball. Real, raw, point blank. Something about

the way John looks at Jane is different, emotional, off. Time freezes. The barrel shakes on his gun.

John looks into his wife's eyes. And he cannot pull the trigger. So he slowly...lowers...his...barrel.

Jane blinks sweat out of her eyes. Confused, suspicious. Her eyes flit fast, looking for tricks. But what she sees is...

Old photos. Knick-knacks. A lifetime of memories. Young John and Jane stare out at her. She blinks hard. STRUGGLING. Starting to crack. And slowly....her trigger finger... LOOSENS. CLICK. She...drops her gun.

AND LUNGES...INTO...A KISS.

John and Jane COLLIDE. All of the tension and thrill of the chase POUR into this kiss. Their hands move fast. Hungry, desperate. They slide to the ground. We TILT UP to find...a battered piece of mistletoe, swaying in the breeze. FADE OUT.

John and Jane lay in a tangle of sweaty sheets staring up at the ceiling in utter confusion.

They both smile.

She jumps on him again.

John sits up.

They roll onto the floor.

The sun's first rays hit the street. John rolls off Jane. He looks exhausted.

She looks angelic in the morning sun. John and Jane stare at each other, as if seeing one another for the first time.

This is the best it's ever been. And perhaps...the best it will ever be. Because...the beat passes. And John sees...

A RED DOT on JANE'S FOREHEAD. A laser sight.

He rolls her off the bed and onto the floor half a second ahead of a volley of bullets, which THUNK!! THUNK THUNK into the mattress. John and Jane crawl together.

John checks his watch. 6AM on the dot.

John and Jane hurry along the landing. They HEAR THE BACK DOOR SLAM SHUT and STOP DEAD, looking at each other.

They hear...a CREAK. The enemy is definitely...IN THE HOUSE.

John looks at Jane. Surprised.

The Assassin CRASHES through the kitchen door. Incoming. John and Jane head down the stairs, and...

The Assassin tosses another GRENADE UP TO THE SECOND FLOOR LANDING. The grenade DETONATES. BLOWING OUT THE LANDING! The whole second floor TILTS, LILTING like a wounded animal. CRACKS race up walls and ceilings. The second floor...FALLS!

John and Jane LEAP AWAY. The UPSTAIRS MASTER SUITE CRASHES TO THE EARTH WITH A DEAFENING THUD!

John and Jane surface from a sofa in the LIVING ROOM. They look up over the couch to see...THEIR BED. A few feet away.

Their BEDROOM sits in the front hall. A very strange sight.

The Assassin barrels forward. John moves fast. FLIPPING UP the bed, PUSHING the frame TOWARD the shadowy Assassin. The Assassin FIRES, BLOWING a hole in the center of the bed. He looks through the hole to see...

John and Jane turn a corner. John pulls Jane toward...A DOOR. She shakes her head, reading John‘s mind.

John rips open the door. Revealing STAIRS into the BASEMENT. JOHN

You have a better idea?! We can’t fight back with china and teapots!

CONTINUED: {

Jane tenses. She does not like this plan. John lunges down Stairs. Jane looks back. And she follows John down to--

John PULLS OPEN a TOOLBOX. Rips off the false bottom. Pulls out a snub-nosed MINI-REVOLVER. He hands the little gun to Jane. She looks at the mini.

John reaches into the box, and grabs a MASSIVE MILITARY-ISSUE 45 AUTOMATIC. Jane just glares at him.

And BAM! BAM! The unseen Assassin SHOTGUNS the HINGES off the basement door. His SHADOW stands at the top of the stairs.

He steps away, DROPPING SOMETHING. CLINKCLANK CLINKCLANK. | John and Jane see...TWO GRENADES BOUNCE DOWN THE STAIRS i

TOWARD THEM. Jane gives John a serious “told you so” glare.

JOHN KICKS TKE GRENADES which skitter across floor and wedge under the OIL TANK. Oh shit. They duck as the tank BLOWS.

JOHN AND JANE RUN UP THE STAIRS, with FIRE licking at their heels. The EXPLOSION BUCKLES, swelling, rumbling through the house, like an earthquake, The whole structure SHIFTS off its foundation. John and Jane look up to see...

The CEILING CRACKS. RIPPING APART. John and Jane sprint full- speed, leaping out as...

THEIR HOUSE, THEIR HOME, FALLS APART. CRUMBLING TO THE GROUND. A smoking, smoldering PIT.

John and Jane stumble back. Looking at the shambles of their home. In the swirling detritus, they see...A SILHOUETTE. Backlit by flames. Incoming. Inexorable.

(CONTINUED }

They lock eyes. Both thinking the same thing:

John and Jane race toward a FENCE. Jane quick-climbs the fence in one leap. John moves slower. Jane pulls him up and over just as...BLAM! Bullets BLOW the fence to bits. They land in the Carlsons‘ backyard.

SMASH! John elbows the driver-side window of a wood-panelled MINIVAN, Shattering it. John sees...

He leaps in. Opens the door for Jane. John starts to hot-wire the car. BANG! A bullet TEARS A HOLE in the side of the garage. They see the killer's SHADOW incoming.

More BULLETS TEAR THROUGH the garage, SHATTERING windows.

John works desperately. The engine keeps turning over and over and over. It won’t start! The Shadow is seconds away!

But he sees...Jane’s HAND in front of his face. With KEYS in her palm. Jane motions to the open sun-visor and gives her own patronizing smile.

John GRABS the keys, SLAMS into reverse, PEELS BACK just as-~

The Assassin steps through a hole in the garage. He stands in the headlights. We get our first good look at this monster.

He looks like...a young salesman. Completely normal. Truly...

The Assassin raises his guns. John RIPS the car into gear, SCREECHING A 180-SPIN IN THE DRIVEWAY as...

(CONTINUED )

BANGBANGBANG! The Assassin BLASTS the van’s back windows. John swerves hard, speeding into the suburban night. The Assassin backs away into the darkness.

With the sound of gunfire gone, we HEAR the CD on the stereo: BING CROSBY'S “SILENT NIGHT.” Jane reaches back and finds the Carlsons’ DRY-CLEANED CLOTHES. She grabs them. She swivels forward. John moves to turn off the radio.

They drive together. Two stone~cold killers in bathrobes. Listening to Bing Crosby. In a minivan. Jane considers. Spooked. Shaking her head softly.

John checks the rear~view mirror. JOHN (CONT'D) That car behind us look a little close to you?

A SLEEK, SILVER BMW SEDAN CHARGES toward them!

Assassin works the wheel, shiting the clutch brilliantly. He reaches out with an AUTOMATIC, FIRES at the minivan, SHREDS the back door.

Jane grabs John’s 45. She climbs into the passenger section. AND BING CROSBY CROONS OVER THE FOLLOWING ACTION:

Jane crawls on her stomach, POPPING down two rows of RECLINING SEATS. She sloooowly RECLINES THE LAST ROW. USING THE SEAT-BACK AS A SHIELD. She aims over the seat at...

The Assassin’s BMW. Jane FIRES! But John SWERVES wildly, darting around TRAFFIC. Jane’s BULLETS miss high and wide.

John struggles to control the minivan. A heavy load.

Jane sees...A BLACKED-OUT EXPLORER swing into lane, joining the hunt. TWO YOUNG KILLERS in the front seats. More suits. Jane’s eyes narrow. Thinking. She crawls back to the front.

He pauses. He wants to be in control. Jane reasons:

John looks at her. Motions to the wheel.

As John and Jane shift positions, their bodies BRUSH, Flesh twisting, turning. Intimate, sexual. For a split-second... They get caught up in the heat. And WHAM! The Assassin SLAMS into the minivan. SNAPPING John and Jane back to action.

John crawls into the back. Jane adjusts the rear~view mirror to her height. Her eyes narrow, focused. Ready to battle with her suburban tank. She SPEEDS up the ON-RAMP to--~

John AIMS over the back row of seats. Heavy machine-GUNFIRE explodes from the Explorer. Eating windows from the rear.

The Assassin switches gears, RACING up the DRIVER-SIDE.

Jane checks her side-view-mirror.

John grabs a seat belt. Jane reaches back over her shoulder. She hits the SIDE-DOOR LOCK. She PUNCHES the BRAKES.

And the SIDE-DOOR SLIDES OPEN. Giving John a CLEAR SHOT!

John FIRES point-blank! Bullets SHOOT through the Assassin's passenger-side windows, WHIZZING by his head.

In one fluid motion: the Assassin HITS his brakes, SWINGS around the back of the van, and HAMMERS the gas. Speeding up along the other side of the van. But he finds a surprise:

THE OTHER SIDE OF THE VAN HAS A SLIDING DOOR TOO. JOHN IS WAITING. DOOR OPEN. GUN HIGH. BLAM! The Assassin VEERS HARD!

Fuming, the Assassin SWERVES at the minivan. But the van is too strong. His BMW BOUNCES off. Jane’s eyes narrow.

John straps on a seatbelt. And Jane SWERVES HARD! SLAMMING into the SIDE OF THE BMW! The BMW doors BUCKLE. The minivan’s deors hold STRONG! TOTALLY INTACT.

John looks at her. How the hell did she know that? JANE (CONT'D)

Those dinner-parties are starting to pay off.

(CONTINUED )

The Assassin tries to PUSH OFF the minivan. But the van is too heavy. Jane is PLOWING the BMW ACROSS THE HIGHWAY, TOWARD THE EDGE OF AN OVERHANG. Suburban is beating urban.

The Assassin is trapped, helpless. He reaches out with his gun, FIRING at the minivan'’s wheels. BLOWING out a FRONT TIRE!

But Jane HITS THE FOUR-WHEEL~DRIVE FUNCTION. And her BACK- WHEELS smoke into motion. PUSHING the BMW all the way to...

THE EDGE OF THE OVERHANG. WHAM!! The Assassin’s car SLAMS through the low stanchion. Flies off the overhang!

THE BMW PLUMMETS FIFTY FEET, TWISTING AND TURNING IN THE AIR. The Assassin looks over his shoulder as...BOOOM! The BMW crashlands! EXPLODING into chunks of churning, burning metal.

BAM!!i THE EXPLORER is attacking. AUTOMATIC CHATTER BLASTING}

Instantly, Jane stomps on the brake and swerves left before awerving right and SIDESWIPING the Explorer. But the EXPLORER HOLDS STRONG. Built for off-roading.

A Killer reaches out toward the minivan and OPENS the sliding side door of the van.

John moves fast, as the Killer JUMPS from his car into the back of the minivan. John simply pushes open the opposite door and SHOVES him straight THROUGH the van, out the other Side. He FALLS off an overhang. FIFTY FEET! SPLAT.

The Killer left in the Explorer RAMS them. Jane RAMS back. John is knocked off his feet and nearly falls out.

Jane smashes into the attacker, RIPPING her steel bumper into the Explorer, destroying the entire side of the SUV.

CONTINUED: (2)

John hangs onto the floor of the van for dear life. Road rushes past both open rear doors. The Explorer Killer FIRES full breach at John.

Jane starts to RAM again. The Explorer swings toward the van. But Jane SLAMS HER BRAKES! A signature move. And the Explorer SWERVES straight PAST the minivan, into the divide.

The Agent slams his brakes, but WHAM! SMASHES INTO A CONCRETE STANCHION. EXPLODING into flames. Jane drives past him.

John and Jane drive off into the horizon. In a beat-up Minivan. Bing Crosby’s song comes to a resounding climax.

As they drive away from the FLAMING WRECKAGE, we FADE OUT. A beat of SILENCE. Darkness. Peace. And FADE IN:

The shoulder. We hear a plaintive SQUEAK. The sound of metal on concrete. And...the MINIVAN rolls into frame. Tires shredded. Rims destroyed. Just beat to shit.

The minivan slows to a stop. Dead. Bing Crosby fades out.

John and Jane sit in silence. The quiet after the storm. They stare into the distance.

The sun rises over the road ahead, leading to wilderness, suburbs. Behind them, the city skyline looms large.

John and Jane sit, with cars whooshing past. Awkward, silent. John slowly looks at Jane. He puts his toe in the water:

Jane is a little defensive. Holding tight.

John shrugs.

A beat. John looks at her. A step deeper;

JANE

"Pretty good.” Yeah... Where are you going with this, John?

He shrugs. Not ready to dive in.

She slowly turns to him. Eyebrow cocked slightly. She needs him to say it. He swallows.

She looks out the window, considering. John watches her.

Right. See how it goes.

A beat. John and Jane look out their windows. And... The trial begins.

Corporate Christmas. Nat King Cole. Ronald McDonald Santa,

CONTINUED: (2)

Jane and John sit, looking hunted, drinking terrible coffee. Jane looks from customer to customer. Paranoid. She knows the next attack could come from anywhere.

John sits still, trying not to say the one thing he wants to say. Finally, he cracks:

Jane looks away. Checking the crowd. All suspicious. The Lady with the Christmas sweater? The Old Man with the cane?

Jane knows this is the only way to move on.

John goes pale.

(CONTINUED )

CONTINUED: (3)

She shrugs.

A long beat. Finally... JOHN Are you counting innocent bystanders in that? Jane shakes her head, annoyed. And we CUT TO:

John and Jane stride across the lot. Jane is ten yards ahead. JOHN (still struggling) How’d you find time to shop?

CRASH! Jane SMASHES a window, to steal a car.

As John slides in, the engine HUMS to life.

A long stretch of road. Jane drives. John sulks, staring out the window, still struggling with the Number.

(CONTINUED )

John slowly looks at her. His eyes are dark, hopeless.

They died when I was ten. This news hits John harder than everything else combined.

; JANE He was a paid actor.

John sits rocked. JOHN I feel so naive. I feel so naive for bringing my real parents to the wedding.

John looks at Jane, realizing how little he knows. This is the single lowest moment of his life, He croaks:

Jane is trying to stay professional here.

CONTINUED: (2)

They drive a beat in silence. No eye contact. And then:

John keeps his eyes out the window. Distant.

A beat. And Jane's eyes narrow. Mind racing. A plan brewing... on the CUT TO--

The perennial steps. Establish. And then we...DROP DOWN BELOW THE STREET. DOWN DOWN DOWN TO--

A witness protection bunker. TARGET HECTOR sits with RODWAY. Unlike the hotel room before, there are no distractions here for Hector. Just newspapers, which a half-dozen AGENTS read.

We HURTLE THROUGH THE WALLS, PUSHING UP TWO FLOORS TO--

Rows of floor-to-ceiling patch bays and servers fill a large

refrigerated COMMS ROOM. Four aisles of servers. At a desk at

the far end sits a computer geek, GORDON, typing a keyboard. GORDON

Yo Maxine? I’m gonna head up there install it myself.

His chair scrapes across the steel mesh floor. He leaves. Right under where he was sitting, a metal panel in the floor pops up, and Jane appears. She has been hiding in the wiring cavity under the floor.

She opens a titanium suitcase. Inside is a laptop and comms kit. She ethernets onto the network and hacks the main server. She wears an ear-piece.

A flashlight beam slices through the darkness. A shadow emerges. John. He wears an earpiece.

INTERCUT JOHN AND JANE. Jane's screen fills with PASSWORD PROMPTS for the main system. She starts hacking.

Jane gets a little annoyed, distracted from her work. JANE This is not my first time, you know.

John keeps moving, his flashlight hitting walls.

(CONTINUED )

John reaches a SERVICE SHAFT. His eyes distant, thinking...

And the shaft CLICKS OPEN. John steps into VENT SHAFTS.

Jane hits keys, highlighting GRIDS for the SUB-BASE FLOOR.

Horizontal shafts. John crouch-runs through the ducts. Hot air blows through the pipes. His bady GLOWS on SCREEN IN--

Jane has a TRACKER on John. She leads him through the grid.

John quickly works his way through the narrow shafts. Then suddenly...STOPS.

We see...John is facing a DEAD END.

s

He is sweating. The hot air is boiling. JANE (IN EARPIECE)

Stay in position. I'm re-routing now.

John hits the floor.

either.

The SUPPLY CLOSET door cracks open. A small mirror emerges, in John’s hand. He looks up the steel hall at...

The BUNKER DOOR. Two FBI AGENTS stand guard. JOHN (quiet) I’m in position. Kill the lights.

Jane strokes keys. But...her screen goes RED. FAILSAFES flash. “INVALID COMMAND. CONFIRM PASSWORD.”

John keeps looking down the hall. Quiet, urgent:

Jane hits keys. Desperately trying to hack the failsafe.

99,

Jane continues to struggle, getting more and more stressed.

Jane grits her teeth. Working fast.

The elevator at the other end of the hall PINGS. A YOUNG FBI AGENT emerges, with two PIZZA BOXES.

The two Agents OPEN THE DOOR TO THE BUNKER, letting their buddies know dinner’s here. The Agents step away: from their post, LEAVING THE BUNKER DOOR SLIGHTLY AJAR.

They walk past the supply closet. John sees the empty door.

Jane is still hitting keys, frantic. JOHN (IN EARPIECE) This could be the one shot we got, I‘m taking it~

John reaches out and... RIPS DOWN A FIRE ALARM.

Jane hears the ALARM flare to life.

The Agents drop their pizza. They hustle back up the hall. Just as they get to the supply closet, the STEEL DOOR SLAMS OPEN, KNOCKING the men off their feet. John emerges. The Agents try to stand, but John moves fast. Three quick SLASHES, and the men fall hard, over and out. As they drop, John grabs one of their guns. He looks up the hall.

Jane keeps hitting keys. She monitors the POLICE BAND RADIO. JANE

We're all over the goddamn air.

We've got to abort!

John hears the news. He barrels toward the door, FIRING WILDLY to give himself some cover.

ALL THE LIGHTS GO OUT. The SCREEN IS BLACK. So John is BLIND.

Agents FIRE. Muzzles flash, lighting the scene. John moves through the room like a SHADOW, keeping low.

He beelines toward the MAIN HOLDING ROOM, He FIRES six quick shots at the doorknob. The gunshots expose his position, 50 the Agents bear down. John lunges into--

John sees a LOCKED DOOR. Without slowing, he pulls and tosses a GRENADE. It rattles to the door. And...BOOM! EXPLODES.

Jane rolls her eyes. A disaster.

John moves through flames and debris to see...HECTOR in a chair, scared to death. He looks up at John's shadow.

JOHN ; Follow me. I got orders to get you f out of here.

JOHN

Nobody wants to do things the easy

way today. WHAM! John whips down his gun, KNOCKING Hector over and out.

The FBI Agents take command positions. Their TEAM LEADER raises his hand, to lead the charge. But...something SLIDES out of the bedroom. They look down to see...

A GRENADE. BOOM! A percussive STUN GRENADE. The Agents FALL to the floor, eyes rolling back, blind. Alive.

Through roiling smoke, John emerges, with Hector slumped over his shoulder. He moves out to--

John enters the ELEVATOR, just as a sea of FEDS and COPS flood through a STAIRWELL door. The elevator closes.

John stands exhausted, covered in debris. He breathes heavy.

(CONTINUED )

The elevator stops. Doors open. Jane enters. They stand together, as the elevator rises. Jane opens her mouth.

A beat.

He just looks at her. She couldn’t keep her mouth shut. Not this one time. PING! The elevator hits the GROUND FLOOR.

John and Jane are in the front, seriously pissed. Hector is in the back, slowly blinking his way to consciousness.

She doesn't look convinced.

WHACK! Hector'’s head SNAPS back. He is tied to a chair. John and Jane face him. John just levelled a PUNCH. They’ve been here for a while.

Jane, sit down. She sits down, burning. John turns to Hector.

Hector is looking at Jane. Her legs. JOHN (CONT'D) Hey. Look at me, Hector. And answer the question: why’d the CIA want you dead? Hector looks at John. Defiant. Ever the pain in the ass.

John shakes his head, losing patience.

second?

8 He PULLS her away from Hector, leading her INTO THE CORNER. They stand close. Quiet, heated.

She shakes her head.

John can't help but smile. She looks at Hector. Her eyes narrow. A new tact.

She drops her hair. As it falls dangerously, we CUT TO:

For the first time, Hector looks a little...nervous. And we see why: Jane approaches, with her hair down, fingers on her blouse-buttons. Ravishing. JANE Hector. Hector... We don’t want to hurt you. JOHN (under breath) We don‘t?

Her hand lazily brushes his shoulder.

(CONTINUED )

Her hand lazily on his cheek.

She leans down. Her face close to his ear. She breathes:

Hector swallows hard. He’‘s struggling to hold tight. John is struggling too. He grips his gun tighter.

Jane's hand is on his shoulder, rubbing softly.

Hector is sweating. Jane is so close he can taste her.

Closer, closer. Her lips part. And one word escapes:

Hector opens his mouth. He’s about to crack. But suddenly-- CLICKCLACK!! John stands with his HUGE GUN at Hector’s head. JOHN JUST ANSWER THE FUCKING QUESTION, HECTOR!

Hector’s mouth shuts.

(CONTINUED )

CONTINUED: (2)

His trigger finger tightens.

Hector looks up at him. And cracks a little crooked smile.

That’s it. John SWINGS his pistol. And...THWACK! Jane GRABS his gun in MID-AIR. John and Jane lock eyes.

A heated beat. John lowers his gun. His eyes angry.

WHAM! John SLAMS the door shut behind him. He looks back, and sees...Jane CLOSING THE CURTAINS. He stands alone a beat. Totally alone.

He turns to see Jane. In the doorway. Her hair messed. One more button open on her blouse. John is cold.

He doesn’t trust her. She takes out a cigarette.

(107.

John shakes his head. Quiet, reeling.

She turns to him. Doesn’t answer. That’s a “no,”

She lights up. A drag.

JANE (CONT'D)

His name’s Hector Danz. He was an accountant for the CIA. Ran all the books for freelance hitters. They were using independents, like us, on domestic targets.

Another drag. John just stares at her.

A beat. John stares at Jane. Dealing.

She puffs.

He shakes his head. Digesting. Jane remaing dark. JANE (CONT'D) John. Hector and the books are a

package deal. Without the books, we've got nothing.

CONTINUED: (2)

John shrugs. No problem.

John opens his mouth, Nothing escapes. A beat.

A hard beat. Stinging.

Jane takes a long drag. Smoke rises.

An impossible beat. Trapped. With insurmountable odds. John searches for a solution. Quiet, resolved. Finally:

CONTINUED: (3)

She looks at him.

Jane looks at him. A penetrating glance.

John roils, emotional.

CONTINUED: (4)

JANE

So this is my fault?! This is my fault now?

No, it’s my fault. It’s all my fault. It’s my fault we met. It's my fault we moved in. And it’s definitely my fault we got married.

Fuck. Right away, he wishes he could take the last sentence back. But it’s too late. It’s out there. Jane hardens.

A hard beat. On the edge of the dark highway. frustrated. He wants to stop the bleeding.

A beat. A challenge: JANE (CONT'D)

So tell me one thing that’s true. One thing you really mean...

John stands

lll. CONTINUED: (5)

She needs something meaningful here. John opens his mouth. But nothing comes out. He doesn’t know what to say. Jane shakes her head, disappointed.

She turns around. A beat. Miles away. John searches. Finds:

Hold on John. And we CUT TO-~

A phone rings. A hand picks up.

VOICE Identify.

VOICE Your contract has been rescinded.

VOICE (a beat) Where would you like to make delivery? JANE Somewhere public, covered, no clean shots. VOICE (ON PHONE) Name it.

Jane hangs up. No sign of John. She looks at the horizon. The sun rises, blood red. A cold wind blows. Jane drops her cigarette, and stomps it out. Hard.

And we CUT TO... AN EPIC SWEEPING AERIAL SHOT OF...... ‘

See the Christmas shoppers. Smell the new paint. And enter~-~

John enters ALONE. His eyes shift from customer to customer. Potential assassins everywhere. That guy over there looking at the bunkbeds. The couple paying for garden furniture.

John walks slow. Wary. Eyes shifting. Hands running through soft furnishings. And then...

VOICE (0.S.) Mr. Smith.

John turns to face MR. HORNER: a very ordinary man carrying a very ordinary basket of goods. He smiles broadly. Terrifying.

His smile tightens, realizing John knows his name. John’s eyes keep moving, checking the customers, sightlines.

A hanging beat.

John stays quiet. He looks at Mr. Horner. That scary smile.

John looks gutpunched. His eyes scanning. He sees the store filled with suspicious moves, bulges. Quiet:

(CONTINUED )

113. | CONTINUED: |

Mr. Horner smiles, nods good-naturedly.

He trails off. We can only imagine what happened to his wife.

Mr. Horner pats a BAG in his basket.

John shakes his head, digesting. Horner gives a cruel smile. MR. HORNER (CONT'D) Don’t tell me you thought this would all have a happy ending...?

John looks up. Intense. Remembering Jane’s words:

VOICE (0.S.) That haven’t finished yet.

And we see...JANE steps out from behind Mr. Horner. He turns, a little surprised to see her. John's eyes remain level, giving away no emotion, nothing.

MAN IN MOCK BATHROOM The Man sits on mock toilet. Speaks into a wrist mic.

MAN PUSHING PRAM

Mr. Horner keeps his eyes on Jane.

He motions to the bag. She takes it.

She opens the bag, checking the cash.

John keeps his eyes on Jane. A flicker of...connection...?

Jane Looks at John.

Mr. Horner looks slightly confused. His smile creases.

Okay, now Mr. Horner is seriously confused. What the fuck is going on? He looks back and forth between John and Jane.

(CONTINUED )

CONTINUED: (2)

JOHN

Got him. Couple by the lamps? JANE

Check. JOHN

So. You ready? And...Jane steps BESIDE JOHN. Facing Mr. Horner together.

Mr. Horner‘s smile finally fades. Dead serious.

There is something different about their bickering now. A rhythm. As if they are in on the same joke. Their eyes keep moving, casing. The customers slowly shift positions.

MR, HORNER What are you talking about?

(CONTINUED )

(3)

Mr. Horner loses patience:

John and Jane look at Mr. Horner. He gathers himself.

MR. HORNER

So you know for a fact you’re not walking out of here alive.

They look at each other. Shrug.

The Truth.

They look back.

CONTINUED: (4)

Without turning.

Jane pulls a gun and time turns to syrup. John throws the bag into the air, covering Jane’s head. She FIRES at the BAG, 50 money explodes into the air, buying them precious cover.

A TELESCOPIC SIGHT SHOT is obscured by the cloud of bills. Mr. Horner steps away, disappearing down the aisle.

A fully armed TEAM sit up in the KIDDIE FOAM BALL PIT where they had been hiding. They OPEN FIRE on Jane and John.

Jane aims at a man drawing his gun and blows him backwards off his feet. The MAN ON THE TOILET get off one shot at them before John takes him out. John and Jane SMASH through the paint cans, into the massive shelving unit.

They roll GRENADES across the floor spewing colored smoke. Another grenade spins further out. As Killers swarm the area, the grenade goes off with a flash, BANG! A percussion grenade. It takes out the four nearest guys.

John and Jane, now inside the shelving unit, crouch-run behind the paint cans as shots rain in, SPATTERING them with multi-colored PAINTS. They roll out into the opposite aisle.

John skids across the floor on his back, FIRING continuously, DROPPING two agents with rifles. Jane covers the other angle FIRING at multiple targets pouring into her end of the aisle.

The aisles are working in their favor, they only have two directions to cover. Back-to-back, they BLAST their way through a chipboard wardrobe into another shelving unit where they fluidly reload under cover as they spin into the next aisle. Swapping directions, they cover opposite angles.

Agents pour into each end of the aisle but they have no cover. Jane and John work through them methodically, spewing hot lead, raining brass casings. More and more Agents appear.

But Jane and John have found an unstoppable RHYTHM. Like Fred and Ginger.

CONTINUED: (5)

Covering each other, reloading under shelves, erossing into aisle after aisle, covering each other again and again.

The Agents quickly realize they are at a disadvantage on this terrain. They hang back, FIRING more carefully. John and Jane have to be more careful now, more observant. Reacting to the smallest movements. They burst out of the warehouse area and into the SHOWROOM.

Eerily, John and Jane move through living room mock ups, kitchens, stalking through studies and immaculate bedrooms. Like a MAZE, they encounter Agents round corners, firing at John and Jane from hidden vantage points.

Two Agents are dug into a BATHROOM, laying down fire. The cover is more readily available here, the ground broken. John and Jane’s progress is slowed in a mock-up of the ideal suburban LIVING ROOM. They continue to shoot it out.

Two Agents incoming. Jane gets low, grabbing CHRISTMAS LIGHTS off a pillar, whipping out the lights, SWEEPING the Agents to their feet. As they fall, she snatches their guns. She tosses the reinforcements to John. On the move...

John looks at his wife, fucking impressed. They jump up and lay down a withering FIRE on the bathroom, which gets blown { to bits. One agent ICED, the other dives into the BATHTUB.

John and Jane run through the final few rooms and into SOFT FURNISHINGS. It seems quiet. Too quiet. Suddenly a SHOT hits John in the leg and he goes down. Jane drops with him.

They hit the deck and start CRAWLING through acres of beds in rows. Jane pops up and takes out the shooter through a venetian blind. She looks to John. “You okay?"

John nods and they’re off, crawling under beds popping up now and again to look around,

TWELVE AGENTS run into the section. They split up and stalk through the beds.

CONTINUED: (6)

Suddenly John pops up and takes one out. Just as they react, Jane pops up on the other side twenty feet away and drops another. They attempt to react to Jane, but John pops up, twenty feet further on and HITS again. It’s impossible to tell where John and Jane are. The remaining agents hit the deck, adopting the Smiths’ technique and...

A game of deadly hide-and-seek ensues in the WORLD'S LARGEST

BEDROOM.

More Agents spill into the room. No one seems to be able to locate where or when the Smiths will pop up next. John and Jane separate. They shoot and fight their way toward the door. Taking guns off fallen enemies for ammo. Their progress seems inexorable. A bloodbath.

Then... Silence. Panting, they both listen. No sounds of life. They are the only two people left in the world.

John and Jane slowly stand up and walk out. John leans on Jane for support. As they pass Mr. Horner, without looking:

In slow motion: John and Jane, both streaked with blood and colored paint, walk out of IKEA, weapons still drawn. They pass SHOPPERS cowering behind cars. Kids cry. People pray.

A WOMAN runs out in front of them trying to get to her car. John lazily raises his gun but Jane touches his arm. It’s OK. She‘s real. He lowers it. A nuclear FAMILY are on their faces behind their Range Rover.

John and Jane get in their car and slowly drive away. As they head into the hills, we hear the swell of SIRENS. And...

A convoy of CARS speeds toward IKEA. We recognize the FBT sedans. And...

CRUNCH! PBI AGENTS in flak~jackets swarm the store. Guns out. Familiar faces. They see the FORTY KILLERS layed out. With

Christmas wreathes and blinking lights strewn everywhere, the bodies almost look like...Christmas presents.

(CONTINUED )

We hear BING CROSBY back on the radio. A modern version in--

John and Jane drive away. Jane at the wheel. She reaches over, and puts her hand on John's hand. Blood mingling.

John and Jane sit next to each other on the love seat.

(CONTINUED )

They smile at Dr. Wexler.

They look each at each other. SNAP TO BLACK. REALLY LOUD DEATH METAL.