"THE ROCK" (1996)

THE ROCK

Written by

David Weisberg Douglas Cook Mark Rosner

Revised 10/10/95

BEGIN MAIN 'TITLE SEQUENCE:

An impressionistic montage:

A SILHOUETTED MAN in front of mirror dons his Marine dress blues. Spit polish shoes laced. Medals clipped to jacket. All in CLOSE-UP. We never see him fully.

The Man puts HIS HAT squarely on his head. EYES glint.

On the man's dresser: MARINE MEMORABILIA. Three Purple Hearts, photos of a WOMAN (his wife), PHOTOS OF MARINES in combat locales. TIGHTER into the photos, we HEAR PANICKED VOICES, EXPLOSIONS, NOISES OF BRUTAL COMBAT.

IMAGES: Through smoke, a desperate MARINE PRIVATE who knows he will never be rescued... TWO MARINES walk up to a farmhouse door; through the screen we see a MOTHER AND DAUGHTER who know what the news will be...

IMAGES: A MARINE COLOUR GUARD carries a COFFIN... Now we are the coffin as a FLAG drapes down on us. placed into a YOUNG WOMAN'S HAND.

Now we're in ARLINGTON CEMETERY. Images of the cemetery are reflected in wet puddles, as the SPIT-SHINED SHOES walk past images of the TOMB OF THE UNKNOWN SOLDIER a ROW OF GRAVES comes into focus

A1G CLOSE-UP on the MARINE'S HAT, and his EYES. Suddenly AN EXPLOSION and we see --

A MARINE in a jungle, radioing for help: ,You gotta get us outta here sir, Jesus, they're all over us... ! And an' EXPLOSION ends the communication ...

AII CLOSE-UP on the MARINE'S EYES and FADE IN:

Two groundskeepers on "ride 'em" lawn mowers, BENNIE and MARLIN, smoke Camels and watch the MARINE OFFICER from the opening montage. He's alone, across the cemetery.

1A ACROSS THE CEMETERY 1A

Brig. Gen. FRANCIS XAVIER HUMMEL stands before a headstone: BARBARA MCLEAN HUMMEL 1946-1996.

Hummel puts new flowers on the grave. Walks off.

Heavy rain. A road next to a heavily guarded bunker facility. A canvas covered ARMY TRUCK blows a tire in the road. The DRIVER gets out. Inspects the tire.

FOUR MARINES in black suits dive through a hole in the truckbed floor into a MANHOLE IN THE ROAD.

Three ARMY M.P.s at the front GUARDHOUSE. GENERAL HUMMEL pulls up in a SUBURBAN. The M.P.s immediately recognise him and stand more rigidly.

1E ARMY M. P. 1E

General Hummel, sir. It's an honour. Is the Colonel expecting you, sir?

1F ARMY M. P. 1F

Yes, sir!

The M.P. waves Hummel in, saluting crisply.

The four marines from the truck are waiting, readying arms. The leader is looking at his watch. Gives a hand signal to the others, and up they go --

The four marines emerge from the storm drain and move toward covered positions in the compound.

YARDS AWAY - TWO ARMY "MAGAZINE CHECKERS" emerge from a building with clipboards, on routine check.

The Army M.P.s escort General Hummel inside. THREE ARMY GUARDS spring up from their SURVEILLANCE MONITORS. Everyone's nervous, in awe, rigid at attention. COLONEL CALLAHAN emerges from an adjacent room, sleepy-eyed.

Two marines position themselves outside the door to the bunker compound's elevated watch tower.

Below the watch tower, the ARMY MAGAZINE CHECKERS approach. Marines 1 and 2 spring out, armed with M-16s with over/under grenade launchers They shoot BEAN BAG projectiles at the Army Guards, who collapse, dazed.

Marines 3 and 4 burst inside the watch tower. The guards inside spring up. BOOM BOOM, they're hit by bean bag projectiles, propelling them out the windows of the watch tower. They fall 10 feet and lie unconscious.

Marines 1 and 2, now in MAGAZINE CHECYERIS UNIFORMS, move to the BUNKER DOOR. They open the door with the Magazine checker's CODED CARDS.

Two ARMY GUARDS, playing poker, look up at the entering marines. Marines 1 and 2 walk straight up to the Army Guards, holding them at bay with M-16s. Before any words are spoken, one of the marines injects each of the guards with a VACCINE PISTOL.

Four more marines led by SGT. CRISP enter, holding Col. Callahan, General Hummel and the Army Guards at bay.

The marines begin cuffing the Army Guards to the radiator and taping their mouths.

Sgt. Crisp hits the FRONT GATE'S OPEN BUZZER and follows Hummel out of the room.

The gate swings open. TWO HUMVEES enter the compound.

The marines use a 'rabbit tool, (hydraulic, compact and powerful) to pry open the bunker's steel doors. They rush down a hallway.

CHEMICAL WEAPONS BUNKER - INTERIOR HALLWAY - The marines rush up to another steel door and quickly pry it open.

A refrigerated storage room for chemical weapons. Storage tubes are labelled: V.X. POISON GAS. Across the room are rockets labelled: 55 115

1S MM BOLT ROCKETS. 1S

Using the TRACK HOOK SYSTEM in the bunker's ceiling, the marines move the V.X. CHEM ROUNDS and BOLT ROCKETS to the waiting humvees. It's very fast, like clockwork.

The Humvees, followed by Hummel in his Suburban, roar out of the compound. CUT TQ:

Hummel on a c.b. radio: A textbook exercise, gentlemen. Rendezvous in eleven hours.

Establish headquarters for chemical/biological weapons.

A WINDOWED DOOR stencilled "Chemical/Biological Weapons Division." A RUBBER DART hits the glass and drops into A TRASH CAN next to the door.

1X ISHERWOOD 1X

(V.O.) Son of a bitch...

1Y GOODSPEED 1Y

(V.O.) You owe me five dollars, Marvin.

ACROSS THE ROOM - BILL GOODSPEED, 30, and partner/trainee MARVIN ISHERWOOD, 25, feet up on desks, with toy guns. This is Man's Boredom. A ceiling fan circles. Isherwood yawns; scratches neck with his gun barrel.

GOODSPEED reloads. Aims. Fires.

THE DART hits A CARDBOARD TARGET across the room which activates a Rube Goldberg series of events ending in a PLASTIC GIRL being ignited in a

1Z PAN OF CHEMICALS. 1Z

GOODSPEED, without even getting up, casually sprays the pan with flame retardant foam.

A KLAXON sounds. Isherwood smiles excitedly.

1[ INT. F.B.I. CHEMICAL WEAPONS - BASEMENT CORRIDOR - DAY 1[

Isherwood follows Goodspeed down a grimy, off-white corridor illuminated by antiseptic light. This is an older building. Hasn't been refurbished and shows it.

1[A INT. F.B.I. CHEMICAL WEAPONS - LABORATORY - DAY 1[A

A medium-sized laboratory, where 5 F.B.I. TECHNICIANS are bent over tables of beakers, test-tubes, Bunsen burners, etc. The room and equipment are old and used; could be 1976 rather than 1996.

Along one side of the lab is a plexi-glass wall. Inside the plexi-glass is an airlocked GAS CHAMBER. F.B.I chemists LONNER and LING motion to Goodspeed.

INSIDE THE GAS CHAMBER - is a LARGE WOODEN CRATE next to a TABLE OF POISON DETECTION INSTRUMENTS.

Isherwood does so. It's shaky.

Hold on Goodspeed's uncertain look, and CUT TO:

Goodspeed and Isherwood, in vulcanized rubber suits and visored helmets, enter. They go to the INSTRUMENT TABLE before the crate.

A GLASS VESSEL with tiny air holes (like a salt shaker) descends from the ceiling. Inside are COCKROACHES. .

Goodspeed grabs a pry-bar from the instrument table-and slowly pries open the cratels wooden lid. He motions to Isherwood. Together they gingerly lift the lid.

INSIDE THE CRATE - it's filled with "UNICEF" type stuff. Goodspeed lifts out a HOT-PLATE. Isherwood lifts out an EGG BEATER. Gocidspeed runs a POISON SENSOR past each.

Isherwood lifts out a DOLL. Goodspeed's POISON SENSOR'S NEEDLE goes crazy... !

The doll's eyes open. Its mouth blast a PINKISH SPRAY, hitting Goodspeed's forearm and Isherwood's palm.

OUTSIDE THE GAS CHAMBER - DR. LING stabs a button marked "exhaust" and another marked "emergency."

A KLAXON sounds. F.B.I. TECHNICIANS race for the exit.

IN THE GAS CHAMBER - The pinkish gas hovers in the air. CEILING EXHAUST FANS begin to suck it up.

IN THE GLASS VESSEL - The cockroaches convulse, flip in the air and explode, guts splattering the vessel walls.

DR. LING looks at a DIGITAL CLOCK on the control panel.

Goodspeed grabs the doll from Isherwood, slams it on the table, and grabs A SCALPEL. Cuts open the doll's chest.

ISHERWOOD looks at his RUBBER GLOVES. The rubber is beginning to bubble and corrode.

GOODSPEED peels back the doll's plastic chest, revealing: a C-4 EXPLOSIVE DEVICE and TEN POISON AMPULES.

Isherwood's and Goodspeed's rubber gloves are melting.

1[B WHERE'S THE GODDAMN SPRINKLERS? 1[B

Dr. Lonner flips on the sprinklers. The pipes KNOCK. A FEW PATHETIC DROPS trickle from the SPRINKLER HEADS.

Isherwood, terrified, jerks open an OVERHEAD CABINET, revealing several inch needled SYRINGES.

Isherwood fumbles with a huge syringe.

The pipes are KNOCKING, now they're COUGHING.

ISHERWOOD sinks to his knees, holding the huge syringe in front of his heart, hari-kari style, hands trembling ...

GOODSPEED concentrates on the device; his calm is unsettling. His hands flash, grabbing instruments and performing precise, deft, functions. He snips a wire and splices it. Another. Another.

Isherwood moves the syringe closer to his chest.

1[C IT'S REAL. 1[C

ISHERWOOD drops the syringe. Fumbles for another... GOODSPEED, ice-cold, continues on the device ...

GOODSPEEDIS RUBBER GLOVE is stretched to transparency. we see GOODSPEED'S FLESH through the acid-eaten rubber. He makes one final cut-and-clamp. THE DETONATOR on the poison gas turns off.

OUTSIDE THE GAS CHAMBER - GREEN LIGRTS FLASR on the control panel and A TORRENTIAL SPRAY soaks GOODSPEED AND ISRERWOOD. Isherwood is wide-eyed and trembling. Goodspeed glares at him.

1[D EXT. GEORGETOWN - STREETS/ALLEYWAY - DAY 1[D

The bohemian part around Georgetown U. Goodspeed heads down an alley between two townhouses. LOUD COUNTRY MUSIC emanates from an apt. above. Goodspeed ascends.

1[E INT. GEORGETOWN - GOODSPEED'S APARTMENT - DAY 1[E

A young woman stands in the middle of the living room, belting out a Carlene Carter tune in cowboy boots, rhinestone blouse and skirt. CARLA PESTALOZZI, 20's, is playing guitar, accompanied by a boom box.

Goodspeed walks past her into the kitchen. Carla turns down the music. Goodspeed re-enters with a Budweiser.

Goodspeed sits heavily on the couch. Rubs his temples.

Carla changes the c.d.: A PUCCINI OPERA plays.

She holds Up a positive home pregnancy test and CUT TO:

1[F EXT. DESERT AREA (SOUTHWESTERN U.S.) - DAY 1[F

TWO = Y GUNSHIPS roar over camera and land next to the two Humvees. The Huey's doors open. Marine Captains FRYE and DARROW, both late 20's, drag out two MARINE LANCE CORPORALS, bound and gagged, and sit them down. Other marines roll gurneys laden with chem rounds, rockets and other equipment onto the Hueys.

They Hueys ascend and SCREAM off across the desert and CUT TO:

1[G EXT. SAN FRANCISCO - AFTERNOON 1[G

Establishing shots of San Francisco and Alcatraz Island in the middle of San Francisco Bay.

1[H EXT. ALCATRAZ ISLAND - AFTERNOON 1[H

The tourists file off toward the MAIN CELL HOUSE. Bringing up the rear are Gen. Hummel, Maj. Baxter, Sgt. Crisp, Capt. Hendrix, and Pvts. Scarpetti,. Royce, Gamble and Starling, all in civilian clothes.

Hummel motions to Crisp, who bleeds off with Scarpetti and Royce. Hummel and the others continue with the group.

1[I INT. ALCATRAZ - MAIN CELL HOUSE - AFTERNOON 1[I

Cell Blocks B and C, which inmates called "Broadway." A long corridor with three tiers of cells on each side.

The Ranger leads the tourist group inside.

The Ranger pulls the CELL DOOR OPEN/SHUT LEVER (recessed in the wall at the end of cell block). All the cell doors on the first floor slide open.

The tourists laugh and move inside the cells.

Francisco. The TOURIST BOAT is docked in front of the U.S. PARK RANGERS' OFFICE.

Sgt. Crisp and Pvts. Scarpetti and Royce walk up to the Ranger's office. They look left and right, then enter.

1[J INT. ALCATRAZ - U.S. PARK RANGERS OFFICE - AFTERNOON TWO1[J PARK RANGERS

and a SECRETARY look up.

1[K ALCATRAZ PARK RANGER 1[K

You're not supposed to leave the tour, guys. Is there a problem?

1[L INT. ALCATRAZ - MAIN CELL BLOCK - AFTERNOON 1[L

The tourists are in the cells, looking around. Park Ranger Joe notices Hummel, Baxter, and the other marines standing behind him. Smiles:

Baxter draws a .45 and places it to Ranger ioe's head.

Startled, Park Ranger Joe backs into a cell. Baxter grabs the cell door open/shut lever and yanks it. The cell doors CLANG shut. Hummel, Baxter and the others walk off.

1[M EXT. ALCATRAZ - PARADE GROUND - AFTERNOON 1[M

Hummel and Baxter walk up to the PARADE GROUND as THE TWO HUEY GUNSHIPS approach. They hover above the parade ground. Cpts. Frye and Darrow rope-deploy from the Hueys. They stand at attention, saluting Hummel and Baxter.

1[N FRY AND DARROW 1[N

They hand signal to the Huey pilots. The Hueys take off around the back of the island.

A MONTAGE of short INTERCUT scenes, all AFTERNOON:

THE INFIRMARY, UPSTAIRS ROOM A former hospital room will be the command and communications center. PVTS. GAMBLE and STARLING set up a portable desk, chair, and an array of communications equipment (including portable satellite dish and look out).

1[O EXT. THE ISLAND'S SHORELINE 1[O

CPT. HENDRIX AND PVTS. ROYCE and SCARPETTI lay motion sensors on the perimeter.

1[P INT. THE PRISON MORGUE 1[P

PVTS. COX and MCCOY load the V.X. CHEM ROUNDS from INSULATED COOLING BAGS (size of a big gym bag) into the morguels CORPSE DRAWERS.

MAJOR BAXTER sets up a PORTABLE Rocket LAUNCHER.

a second portable rocket launcher.

1[Q INT. ALCATRAZ - MAIN CELLHOUSE - DAY 1[Q

The tourists are now panicked, confused, and making a commotion. Shouting and yelling. A woman is crying.

Suddenly a .45 is fired. Total silence. Hummel and Baxter, followed by Pvts. Gamble and Starling (pulling a gurney stacked with MARINE FIELD RATIONS), walk to the middle of the cell block.

Gamble and Starling begin passing out the field rations. 53

F.B.I. Director JAMES WOMACK exits his office in a tuxedo, trailed by MARGIE WOOD, a young F.B.I. Agent.

They stare at each other and CUT TO: 54 INT. HOOVER BUILDING - DIRECTOR WOMACK'S OFFICE - NIGHT -- Womack, grabbing his phone. F.B.I. DIRECTOR WOMACK F.B.I. Director Womack.

media or there will not be eighty. Second: fifteen guided rockets armed with V.X. poison, are currently aimed at the population of San Francisco. I will call again at 0-hundred hours and state my demands.

CLICK. Womack stares at the phone: calls to outer office:

Agent wood gives him a curious look and CUT TO:

1[R INT. ALCATRAZ - INFIRMARY/COMMAND CENTER - AFTERNOON 1[R

Cpts. Hendrix, before Hummel.

Frye, and Darrow, and Sgt. Crisp at attention Maj. Baxter at Hummells side.

becomes ill, is prone to disease. (beat) Major Baxter, Gunny Crisp and I have been on the front lines since 'Nam.' Captain Hendrix was my adjutant in the Gulf. Get a haircut, Pete, you're lookin' like a beatnik. (the crew-cutted HENDRIX smiles Captain Frye, Captain Darrow.) You and your men are new to me.

excellent. I want to be clear on why you - why all of us are here. You both stand to profit from this.

Darrow: They are called courts of law. In the military, they are called Courts Martial. This country has places where lessons a-re leaned. They are called schools. Am I confusing you?

EL I see that I am ' (beat)

Plain and simple. An insurrection against a government to which we have sworn allegiance. Everyone in this room must understand that.

Hummel looks from face to face, studying each.

Hummel's men fall out and exit. Baxter, the last to exit, salutes Hummel.

1[S INT. PENTAGON - SITUATION ROOM - NIGHT 1[S

Many people around a table, each with a DOSSIER on Hummel:

F.B.I. Director Womack (still in tuxedo), F.B.I. agent Margie Wood, White House Chief of Staff HAYDEN SINCLAIR, National Security Advisor LOUIS LINDSTROM, Chairman of the Joint Chiefs GENERAL ALBERT KRAMER, Air Force General PETERSON, and C.I.A. Director MILTON AMWAY.

ON THE SCREEN - A YOUNGER HUMMEL in Vietnam.

MORE SLIDES OF HUMMEL in various international theaters.

either won the war or gotten the hell out of Vietnam and stopped wasting American lives. I happen to share General Hummells view.

The door opens. A NAVAL ATTACHE pokes his head in.

INTERCUT - PENTAGON and ALCATRAZ as necessary.

There is a pause.

Everyone stares at sinclair.

that many of the enemy. General, put some duct tape over Mr. sinclair's fat, ignorant mouth. He has shit for brains and he is wasting my time.

Sinclair's irritation is relieved by the Naval Attache, entering again, who hands him a phone and whispers:

Sinclair walks to the far corner of the room with the phone, speaking sotto voice.

El Salvador. Remember the Gulf War. Those pretty "smart bomb" pictures on C.N.N.? My men lased those targets. Ten were left to rot outside Baghdad when the conflict ended - and let's not even mention Mogadishu, gentlemen. No benefits were paid to their families; no medals conferred. These men died for their country and they weren't even given a coddamn military burial. (beat) This situation will not stand: you will transfer 100 million dollars from a Grand Cayman "Red Sea Trading Company" account to an account I designate. From these funds, reparations of one million dollars will be paid to each of the 83 marines, families. The rest of the money will pay for my outfit's expenses. Am I clear?

General Kramer, embarrassed, nods yes.

Hayden Sinclair returns to the table.

clear as hell on this: We will not negotiate with you and we do not care if ...

of tomorrow, until 12 noon - to transfer the money. Don't even consider the standard counter measure, General.

1[T I GENERAL PETERSON 1[T

Thousand. Seventy thousand. Dead. one teaspoon will kill all living organisms in a three story office building. Get the point?

in its test phase. It detonates at 6,000 degrees, enough to burn up V.X. (dawning on him) That explains Hummells time frame. He knows we're not operational. What would it take, General?

view the use of Willy Peter as a secondary initiative.

gravel roof. Candles burning. Loretta Lynnls "Stand by Your Man" on the boom box. AMONGST THE RUSTY SUPPORT SCAFFOLDS of an old sign from the 120's --

CARLA and GOODSPEED are, to put it delicately, madly passionately athletically fucking. Standing up. They both have robes on. A CORDLESS PHONE RINGS. Again.

GOODSPEED hangs up. The couple stares at each other. Carla's seen this look before ...

She turns away from him. He pulls her back...

GOODSPEED walks off in COWBOY BOOTS, robe and boxers,..

CHARLES ANDERSON, 35, just the hardest looking man you've ever seen, stands before the group. Anderson is a Navy S.E.A.L., an Incursion Team Leader. Before Anderson are AERIAL RECON PHOTOS of Alcatraz.

fort. It's been ripped up and rebuilt for years. Under there is a maze of shit, excuse my language. (beat) What I need is personal, firsthand intelligence on the island's tunnels.

CAMERA FOCUSES ON F.B.I. Director Womack, who gives a very significant look to C.I.A. Director AMWAY.

F.B.I. Director trades a very significant look with C.I.A. Director AMWAY. Amway clears his throat. He is older, very old school. Everyone turns to him.

1[U C.I.A. DIRECTORY AMWAY 1[U

There is someone who can help us.

Womack and Amway rise and exit together. Everyone else sits there, confused.

the corridor. They huddle tightly against the wall. Sotto voice: -

1[V C.I.A. DIRECTORY AMWAY 1[V

The man spent every night for six months making a dry-run of his escape. He knows every inch of that island. We have to, Jim.

of cells. CAMERA slowly DOLLIES past cell after cell. Sullen INMATES stare blankly at us ...

CAMERA moves through a door marked "ISOLATION." At the end of a gloomy corridor is a CAST-IRON DOOR.

1[W C.I.A. DIRECTORY AMWAY 1[W

it won't bite anyone - if handled correctly. When was the last time you saw him?

1[X C.I.A. DIRECTORY AMWAY 1[X

The man was an S.A.S. trained killer.

1[Y BACK TO WOLFBURG - IN THE ISOLATION CELL 1[Y

TWO FEDERAL MARSHALS open the cell.'s steel locking bar. They push open the door. Dark inside. A MAN sits on the bed.

1[Z C.I.A. DIRECTORY AMWAY 1[Z

Can we risk letting.him out?

A SHAFT OF LIGHT cuts across the cell floor.

1[[ C.I.A. DIRECTORY AMWAY 1[[

The question is: can we not?

THE SHAFT OF LIGHT slices the face of JOHN PAUL MASON. He is British, at least once was, imprisoned without trial for 33 years on U.S. soil. For now, we have no idea why.

1[[A EXT. WASHINGTON D.C. - DULLES AIRPORT HANGAR - MIGHT 1[[A

Raining. An F.B.I GULFSTREAM 4 JET sits on the tarmac.

1[[B EXT. F.B.I. GULFSTREAM - NIGHT 1[[B

F.B.I. Director Womack sits with FRANCIS REYNOLDS, 30, an Assistant U.S. Attorney from the Justice Dept. GOODSPEED sits across the aisle.

Pause. GOODSPEED stares at Womack.

HOLD ON GOODSPEED'S reaction, and CUT TO:

1[[C EXT. SAN FRANCISCO - FEDERAL BUILDING - DAWN 1[[C

Dawn breaks over San Francisoo. A BLACK SEDAN and BLACK SUBURBANS pull up to the F.B.I.'s West Coast office. Goodspeed, Womack and Reynolds get out, go inside.

1[[D INT. F.B.I. - OBSERVATION ROOM - MORNING 1[[D

We watch MASON being led into an INTERROGATION ROOM, his legs in irons, his hands cuffed behind him.

'We are watching through a TWO-WAY MIRROR, and WIDEN TO: Womack, Goodspeed, Reynolds and ERNEST SANCHEZ, S.F. Bureau Agent in Charge, are watching Mason. Sanchez is a gruff guy with the subtlety of a heart attack.

F.B.I. DIRECTOR WOMACK Because I'm willing to give him what he wants, GOODSPEED - a full pardon.

Sanchez exits.

IN THE INTERROGATION ROOM - MASON looks around. He focuses on the mirror. He stares right through at GoodsDeed. GOODSPEED is fascinated, unnerved.

in, sipping coffee. Mason sits there, eyes forward.

Sanches sits. Mason stares at the table.

A pause. Sanchez glares at Mason.

The word "Alcatraz" registers with Mason.

1[[E IN THE OBSERVATION ROOM 1[[E

1[[F IN THE INTERROGATION ROOM 1[[F

1[[G THE OBSERVATION ROOM 1[[G

GOODSPEED smiles slightly:

1[[H THE INTERROGATION ROOM 1[[H

SANCHEZ is getting flustered.

1[[I THE OBSERVATION ROOM 1[[I

1[[J THE INTERROGATION ROOM 1[[J

1[[K THE OBSERVATION ROOM 1[[K

1[[L THE INTERROGATION ROOM 1[[L

1[[M THE OBSERVATION ROOM 1[[M

1[[N THE INTERROGATION ROOM 1[[N

SANCHEZ draws a blank on Solzhenitsyn.

MASON turns away. As if SANCHEZ no longer exists. Suddenly, over a wall-mounted INTERCOM:

SANCHEZ tosses a quarter on the desk and exits.

1[[O IN THE OBSERVATION ROOM 1[[O

GOODSPEED takes the pardon, goes for the door.

1[[P THE INTERROGATION ROOM 1[[P

GOODSPEED enters. He's completely out of his element, has no idea what he's doing, and is-suddenly face-to-face with this.... MASON creature.

The two men regard each other.

The Marshal uncuffs Mason's wrists. MASON rubs his wrists, staring now at Goodspeed.

So much for Goodspeed's confidence.

He slides a ballpoint pen across to Mason. MASON looks at the pen, then Goodspeed.

1[[Q IN THE OBSERVATION ROOM 1[[Q

1[[R IN THE INTERROGATION ROOM 1[[R

MASON registers this information.... 73 IN THE OBSERVATION ROOM F.B.I. DIRECTOR WOMACK Stupid, stupid, stupid ....

1[[S IN THE INTERROGATION ROOM MASON 1[[S

stares at the pardon contract, thinking.

1[[T IN THE OBSERVATION ROOM 1[[T

1[[U IN THE INTERROGATION ROOM 1[[U

MASON thinks. He picks up the pen.

the Fairmont Hotel - I trust it still exists. I want a shower and a new suit of clothes.

With that MASON picks up the pen and signs the pardon contract. He hands it to Goodspeed, who exits.

MASON turns toward the mirror, staring right through.

1[[V INT. F.B.I. ~ OBSERVATION ROOM - DAY SANCHEZ 1[[V

and GOODSPEED enter.

GOODSPEED hands U.S. ATTORNEY REYNOLDS the signed pardon contract.

Reynolds reluctantly hands the pardon to Womack.

SANCHEZ leads the perturbed Reynolds out. GOODSPEED and Womack are alone now. And WOMACK tears up the pardon

Over WOMACK'S SHOULDER, GOODSPEED

1[[W WATCHES AS -- 1[[W

1[[X IN THE INTERROGATION ROOM - MASON 1[[X

places THE QUARTER on the floor. He raises his metal chair; SLAMS it down on the quarter.

1[[Y IN THE INTERROGATION ROOM - MASON 1[[Y

picks up the coin. It has a DEEP BURR in it. He moves to the mirror; begins carving into the glass.

GOODSPEED watches MASON over Womack's shoulder.

MASON has etched a circle in the mirror. He slams his elbow against it. The glass caves in, CRASHES to the floor.

GOODSPEED and Womack whirl around, startled. MASON leans into the observation room.

MASON and Womack stare at each other and CUT TO:

Miles of nowhere. A DODGE sits under a tripod. Suspended from the tripod, a

1[[Z BLINKING DEVICE. 1[[Z

The device DETONATES, showering the car with WHITE HOT BURNING LIQUID and amazingly, the car melts into a pool of molten steel, disintegrating to ash, which blows across the desert.

YARDS AWAY - U.S.A.F. LT. JIMMY FISK and CPT. LARRY GILER (both late 20's) emerge from the heat waves in heat- refletive suits, walking toward A HEAT PROTECTIVE BUNKER (a wall coated with heat reflective metal.)

BEHIND THE BUNKER U.S.A.F. General Peterson watches with other Air Force OFFICERS and TECHNICIANS.

Fisk and Giler enter, pulling off their suit hoods. Their faces are beet red from the heat.

General Peterson walks off.

1[[[ INT., F.B.I. VAN - BACK COMPARTMENT - DRIVING - MORNING1[[[

A van with no windows. MASON is shackled to a steel loop at one end of the seating bench. GOODSPEED sits across from him, a CELLULAR PHONE at his ear.

State your business! Make it interesting!

CLOSE ON MASON, watching Goodspeed, picking up anything he can from the conversation.

1[[[A INT. GOODSPEED'S APARTMENT - DAY 1[[[A

CARLA stands in the threshold of the apartment, watching the answering machine --

She exits, slamming the door.

1[[[B INT. F.B.I. VAN - BACK COMPARTMENT - CONTINUOUS , GOODSPEED1[[[B

clicks off the phone, thinking, nervous.GOODSPEED notices that MASON is staring at him.

GOODSPEED doesn't answer. He notices the F.B.I. AGENTS staring at Mason and him. He straightens up.

The van STOPS: the rear doors open to the FAIRMONT HOTEL SERVICE ENTRANCE.

with a private elevator. Grand, with French doors leading to a balcony. Director Womack, GOODSPEED and F.B.I.Agents Star and Hunt are in the room. Jackets off, shoulder holsters on.

1[[[C IN THE SUITE'S BATHROOM 1[[[C

Steamy, from the shower. F.B.I. Agent Cord sits on the sink. MASON'S VOICE emanates from the shower. He's singing some ditty off-key. But MASON isn't washing.

INSIDE THE SHOWER STALL -- Mason's tampering with the BELL HOUSING of THE RETRACTABLE CLOTHESLINE on the shower wall.

MASON pops off the bell-housing. he pulls out the nylon clothesline cord (it's thick, about 10 ft.) and rips it from the bell housing. Tests its strength.

Satisfied, he knots A NOOSE on one end of the clothesline cord, then coils.

1[[[D IN THE BATHROOM - MASON 1[[[D

emerges from the shower wearing a huge hotel bathrobe.

Cord hands him a SUIT OF CLOTHES. MASON inspects them.

IN THE SUITE'S LIVING ROOM Womack is dumping the contents of a BARBER'S BAG on the sideboard.

Hands THE HOTEL BARBER, a swishy guy, a COMB, ELECTRIC TRIMMER and BIB. The BARBER frowns.

MASON, dressed, emerges from the bathroom. Motions the barber toward the balcony.

The barber gulps. Follows MASON onto the balcony.

1[[[E ON THE SUITE'S BALCONY MASON 1[[[E

sits in the sun on a balcony chair. Bib on.

The barber begins trimming Mason's hair...

THE BALCONY - SOME MINUTES LATER Mason's hair and beard are neatly trimmed. The barber holds a mirror up; MASON examines himself.

The barber stands. Clears his throat. Rubs his thumb and forefinger together.

Agent Star, glaring at Mason, leads the Barber out.

MASON extends his hand. Womack looks at it. As Womack reluctantly takes Mason's hand, MASON slides the noose over Womack's wrist. He yanks it tight and shoulders director womack bodily over the balustrade.

Womack plunges, HOWLING, 9 stories to his death. No, he only falls 10 feet. SPROOOOOING he stops, hanging by his wrist off the side of the building, held there by --

-- MASON on the balcony, clutching the other end of the nylon clothesline, staring at Goodspeed.

GOODSPEED fumbles for his gun. Finally unholsters it. DIRECTOR WOMACK, hanging below, is SCREAMING.

AGENTS, loitering by their vehicle, look up at WOMACK, dangling off the side of the building.

F.B.I. AGENT 2 raises binoculars to his eyes.

1[[[F ENT. FAIRMONT HOTEL - PENTHOUSE SUITE - DAY MASON 1[[[F

and GOODSPEED as before.

AGENT STAR sprints onto the balcony. Star and GOODSPEED begin hauling Womack up as -- .

MASON steals through the suite, through the vestibule, and into the elevator.

ON THE BALCONY - Agent Star and GOODSPEED hoist Directory Womack, red-faced and sputtering, over the railing. GOODSPEED grabs Star's walkie-talkie.

1[[[G INT. FAIRMONT HOTEL - BASEMENT - HOTEL KITCHEN - DAY 1[[[G

MASON exits the elevator. The kitchen is bustling with COOKS AND BUSBOYS. MASON moves toward the side exit. Two F.B.I. AGENTS enter. MASON ducks into the dishwashing room. Waits for the Agents to run past.

MASON emerges, running right into..... GOODSPEED.

WHAMM. MASON'S FIST slams into Goodspeed's jaw. GOODSPEED goes down on the huge dishwasher. MASON moves off quickly toward the side exit.

1[[[H EXT. FAIRMONT HOTEL - SIDE EXIT - DAY 1[[[H

MASON exits the hotel. 20 feet away is the PARKING VALET. 10 incredibly fast expensive European cars are waiting to be parked. First in line, however, is a HUMVEE.

1[[[I EXT. FAIRMONT HOTEL - SIDE EXIT - DAY 1[[[I

GOODSPEED shouts to the F.B.I. AGENTS across the street:

The F.B.I. SEDANS ROAR off after Mason.

GOODSPEED looks around. A Ferrari sitting there. GOODSPEED gets behind the wheel.

THE FERRARI blasts out of the driveway after the Humvee.

a traffic light. Stops behind several vehicles ahead.

1[[[J INT. MASON'S CAR - DRIVING - DAY MASON 1[[[J

looks-up in the rear view mirror. The F.B.I. SEDANS are behind him, closing fast. MASON rams the stickshift into gear; throws the wheel.

side and CLIMBS OVER a parked, day-glow painted VW BEETLE, squashing it's hood. The Humvee ROARS through the intersection, leaving --

The F.B.I. SEDANS and GOODSPEED'S FERRARI trapped at the light behind the other cars.

traffic, hitting the left and right bumpers of the cars in front of it, knocking them aside. It blows through ten cars like ten-pins.

GOODSPEED'S FERRARI slaloms through the Humvee's wake of dented cars and accelerates after the Humvee.

TWO POLICE PATROLMEN scramble into their cruisers, throwing on the

1[[[K CHERRY TOP LIGHTS. 1[[[K

The CRUISERS charge after the Humvee and the Ferrari.

accelerating up a very steep hill.

'100 yards down the hill, the TWO S.F. POLICE CRUISERS, the F.B.I. sedans, and GOODSPEED'S FERRARI, all race after it.

1[[[L INT. MASON'S HUMVEE - DAY 1[[[L

MASON has the radio on. A NEWSFLASH is broadcast:

1[[[M ... 1[[[M

MASON looks at Humvee's CELLULAR PHONE. Grabs it. Studies it. He's never used one before.

1[[[N EXT. SAN FRANCISCO STREETS (HILL #1) - DAY AT THE 1[[[N INTERSECTION - THE

TRAFFIC LIGHT is red. A SPARKLETTS WATER TRUCK proceeds into the intersection.

1[[[O INT. MASON'S CAR - DRIVING - DAY 1[[[O

MASON runs the red light. The Sparkletts truck is in the intersection. MASON violently throws the wheel. The Humvee swerves to avoid the Sparkletts truck --

doesn't make it. Mason's Humvee SLAMS into the Sparkletts truck's BACK END, knocking it sideways. The HUMVEE blasts through the intersection as --

1[[[P JADE ANGELOU 1[[[P

(O.S.) Hello?

1[[[Q JADE ANGELOU 1[[[Q

(O.S.) Yes. Who is this?

1[[[R INT. GOODSPEED'S FERRARI - DAY 1[[[R

GOODSPEED looks at SPARKLETTS BOTTLES bearing down on him

eyes widen too as -- THE SPARKLETTS BOTTLES are bouncing now, roll down on them at m.p.h. A BOTTLE SMASHES through the windshield, showering the Patrolmen with glass.

Chaos. Bottle after bottle smashes down on the -

front-running vehicles. DENTING HOODS. SMASHING WINDSHIELDS. THREE F.B.I. SEDANS and GOODSPEED'S FERRARI negotiate the crashing cars.

They race through the carnage after Mason.

1[[[S EXT. SAN FRANCISCO STREETS - . (HILL #2) - DAY 1[[[S

MASON'S HUMVEE explodes over the crest of a hill at 90 m.p.h. and soars. A beat, then --

THE F.B.I. SEDANS, followed by GOODSPEED'S FERRARI soar over the crest of the hill.

the intersection here, TWO S.F. ROAD WORKERS are sliding a STEEL PLATE over a 6 ft. deep ditch cut in the asphalt (for a water main or equivalent).

The Road Workers, hearing the WAIL OF MASON'S HUMVEE, look up and dive away just at THE HUMVEE blasts over he steel plate, dislodging it from its positioning. It TEETERS on the lip of the ditch.

THE F.B.I. SEDAN hits the teetering steel plate, which collapses -- causing the sedan to be swallowed up halfway into the ditch, it's rear end sticking up in the air. Seconds pass, then --

THE SECOND F.B.I. SEDAN SLAMS into the frontrunning SEDAN'S..EXPOSED UNDERCARRIAGE. Both vehicles are obliterated.

GOODSPEED'S FERRARI, in the most hair-raising slide ever filmed, veers and misses the mangled F.B.I. sedans.

Now it's just MASON and GOODSPEED and CUT TO:

1[[[T EXT. SAN FRANCISCO STREETS - (TOP OF HILL #3) - DAY 1[[[T

MASON'S HUMVEE, with GOODSPEED'S FERRARI close behind, races down a street on the crest of a hill.

IN THE INTERSECTION AHEAD - A CABLE CAR is turning down the hill. Mason's Humvee also turns down the hill, but as the Humvee rounds the corner --

AN OLD WOMAN starts crossing the street. MASON throws the wheel swerving to avoid her, and --

-- THE HUMVEEIS BUMPER catches the BACK OF THE CABLE CAR, dislodging its rear steel wheels from the CABLE CAR TPACKS. With the front wheels still lodged in the tracks, the cable car becrins to slide sideways.

GOODSPEED'S FERRARI clears the cable car's sliding back end and sprints after Mason's Humvee.

1[[[U EXT. SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAY1[[[U

the Humvee and Ferrari blast down the hill. The street is thick with vehicular traffic.

So THE HUMVEE swerves, leaving the street.

onto the sidewalk. Where... SNAP SNAP SNAP it knocks down every parking meter, then hits A LADDER in a cordoned off area. On the ladder, a LINEMAN is fixing a MUNICIPAL POWER LINE. The ladder collapses; THE LINEMAN falls, flailing through the air.

GOODSPEED slams on the brakes. The Ferrari spins 180 degrees and lurches to a stop facing uphill.

Goodspeed's face.

1[[[V EXT. SAN FRANCISCO STREETS - MIDWAY DOWN HILL #3 - DAY1[[[V

GOODSPEED looks up the hill. GOODSPEED'S EYES bug.

GOODSPEED'S POV - THE CABLE CAR is still sliding down the hill sideways.

THE SLIDING CABLE CAR, its wheels SPEWING SPARKS down the hill. The LAST PASSENGER dives. it's now empty and sliding straight for Goodspeed's Ferrari ...

1[[[W INT. GOODSPEED'S FERRARI - DAY 1[[[W

GOODSPEED grabs the Ferrarils CELLULAR PHONE and tries the door latch. The goddamn airbac is all over him.... So GOODSPEED shoots the fucking air bag.

1[[[X EXT. SAN FRANCISCO STREETS - (BOTTOM OF HILL 33) - DAY1[[[X

THE TUMBLING CABLE CAR hits the Toyotals rear. The Toyotals gas tank EXPLODES, lifting the cable car.

The Ferrarils door flies open. GOODSPEED dives away as --

-- THE CABLE CAR, aflame, cartwheels in mid-air and lands with a WHUMP on the FERRARI, crushing it like a tin-can.

GOODSPEED, dazed, wheels away from the wreck, shielding his eyes from the smoke and fire.

A YOUNG KID ON A MOTORCYCLE rolls up.

MOTORCYCLE KID You just fucked up your Ferrari, man.

1[[[Y EXT. STREETS OF SAN FRANCISCO - DAY 1[[[Y

Goodspeed, driving through traffic on the kid,s motorcycle, flips open the cell phone. Punches numbers.

1[[[Z INT. F.B.I. OFFICE - CHEMICAL/BIOLOGICAL DIVISION, FT.1[[[Z DIETRICK,

1[[[[ MARYLAND - DAY 1[[[[

Marvin Isherwood is enjoying another thrilling day. he grabs for the

1[[[[A RINGING PHONE. 1[[[[A

Isherwood gets on the computer. Starts tapping....

1[[[[B INTER CUT - MARVIN IN THE LAB / GOODSPEED ON MOTORCYCLE1[[[[B

GOODSPEED ROARS off on the motorcycle and CUT TO:

house. Across the street --

GOODSPEED watches the house. The door opens. JADE ANGELOU exits. She's 19, tall, pretty, purposeful.

1[[[[C EXT. SAN FRANCISCO - PIAZZA DES ARTES - DAY MASON 1[[[[C

stands next to a massive column, writing on a piece of paper:

1[[[[D "ST. MICHAEL'S CHURCH, FORT WALTON, KANSAS. FRONT PEW.1[[[[D RIGHT LEG. HOLLOW."

ACROSS THE PARK - JADE ANGELOU enters a city park with a rotunda of classical design. A walk-way under massive Corinthian columns. She moves through the rotunda.

MASON sees her. He steps behind the column as she passes. There is a moment of indecision. MASON looks at THE PIECE OF PAPER in his hand.

Jade Angelou stops cold. Slow-ly turns. And regards Mason.

ACROSS THE ROTUNDA - GOODSPEED sees MASON and Jade. he stealthily moves toward them.

BY THE COLUMN - MASON AND JADE Jade approaches MASON tentatively. He is stunned by her. By her beauty, her bearing, her likeness to'him.

1[[[[E ... 1[[[[E

Several POLICE CARS ROAR past, sirens BLARING. MASON pockets the PIECE OF PAPER.

They walk off next to a TALL HEDGE. GOODSPEED follows on the other side of the hedge. INTERCUT between MASON and Jade, and Goodspeed eavesdropping. GOODSPEED pulls out his cellular phone, begins punching numbers.

She fishes in her pocket. Pulls out A LETTER. WHOLE SECTIONS OF THE LETTER have been scissored out. Mason. frowns.

In the b.g. we HEAR POLICE SIRENS. MASON looks around.

MASON and Jade sit on a bench. MORE SIRENS in the b.9. MASON looks off nervously.

like books. I like a good joke. At one time I shot a pretty fair round of golf. I'm in my 60's and I've been in jail half my life. (Jade looks away) Maybe it's better I go.

She smiles. Puts her hands on his.

Police sirens BLARE. And the entire park.is suddenly surrounded by

1[[[[F F.B.I. AND POLICE VEHICLES. 1[[[[F

GOODSPEED approaches. MASON makes no attempt to move. Jade turns to him.

MASON extends his hand to Jade. She takes it.

They hug. Then MASON walks off with GOODSPEED and --

-- Jade opens her hand, revealing the PIECE OF PAPER upon which Mason wrote his instructions.

ACROSS THE PARK - F.B.I. AGENTS STAR and CORD run up.

They continue toward the waiting cars.

GOODSPEED wheels on MASON and swings. SNATCH. MASON catches Goodspeed's fist. Three inches from his face.

SANCHEZ, DIRECTOR WOMACK and the F.B.I. AGENTS approach. Womack's arm is in a sling; he's in a volcanic rage.

AGENT CHANEY, large and mean, comes to Mason's side.

falling. A large warehouse room with windows looking out to Alcatraz Island. Looks like

1[[[[G N.A.S.A. 1[[[[G

1[[[[H AT A RECTANGULAR TABLE - MASON 1[[[[H

sits at the head of the table 122 in front of a SCALE MODEL OF ALCATRAZ. COMMANDER ANDERSON and ten NAVY S.E.A.L.s look toward Mason.

Anderson is agitated, staring at Mason.

Womack follows Anderson aside. They confer heatedly.

he'll endanger my men. He's a security risk. Who says he won't bolt as soon as we turn our backs on him?

The hulking Chaney escorts MASON over.

MASON boils. Then springs at Womack. Chaney grabs Mason, headlocking him. So MASON knees Womack in the balls. Womack doubles over. Recovers, coughing.

1[[[[I ACROSS THE ROOM - GOODSPEED 1[[[[I

looks up from a computer screen generating images of different angles of a V.X. ROCKET. He walks over to the table. Anderson and the other S.E.A.L.s stare at him.

MASON stares at Goodspeed.

MASON walks off muttering.

1[[[[J INT. PIER.39 COMMAND CENTER - BATHROOM - A MINUTE LATER1[[[[J

S.E.A.L. Dando stands at a urinal. GOODSPEED bursts in and lunges for another urinal. He vomits. Gags. Spits.

SANCHEZ enters.

GOODSPEED leans back against the wall.

GOODSPEED splashes cold water on his face.

1[[[[K INT. PIER 39 - OUTSIDE THE BATHROOM - DAY 1[[[[K

The door bursts open. Sanchez, veins bulging, exits, followed by Goodspeed.

and CUT TO:

1[[[[L EXT. ALCATRAZ - LOWER LIGHTHOUSE - SUNSET 1[[[[L

Cpts. Darrow and Frye look out . the window at the Marine's Command Center in the Infirmary.

1[[[[M ... 1[[[[M

1[[[[N INT. ALCATRAZ - INFIRMARY COMMAND CENTER - SUNSET 1[[[[N

Hummel sits at hisdesk. The phone RINGS.

1[[[[O INTERCUT - ALCATRAZ INFIRMARY / WHITE HOUSE OVAL OFFICE1[[[[O

Chief of Staff Hayden Sinclair enters.

death squad in the El Salvadoran jungle. His mother and young wife were told by the Pentagon that he went A.W.O.L. Let's talk about the respect he got.

CLICK. National Security Advisor Lindstrom stares at the phone. Shakes his head.

The men stare grimly at each other.

General Kramer picks up the phone and CUT TO:

INCURSION STAGING AREA (a base in the S.F. vicinity) GOODSPEED and MASON, in black dry suits, join COMMANDER ANDERSON and nine other S.E.A.L.s.

Four S.E.A.L.s will be identified: BOYER, REIGERT, DANDO, and SHEPHERD.

here will run point for us. Lieutenant Shepherd will be attached to your hip, Mason. You breath, he breathes with you. Understand?

LIEUTENANT SHEPHERD, young, laconic, nods at Mason.

GOODSPEED and the S.E.A.L.s exchange looks.

mistake about it, gentlemen, we are going in against an entrenched force led by one hot-shit field commander. We are in the fight of our lives, I bullshit you not. Any questions? Let's move out.

The move across the staging area to --

A CH-53 SEA STALLION and two HUEY COBRA ATTACK GUNSHIPS, their BLADES whipping with ferocity.

S.E.A.L. SHEPHERD stands in the Sea Stallion's door. The S.E.A.L.s board past him. Last are MASON and Goodspeed.

GOODSPEED gives MASON a look and climbs in. Then Mason. Then Shepherd, who SLAMS the door shut.

THE GROUND CREW waves red LIGHT SABRES: "all clear." The Hueys and the Sea Stallion lift off.

1[[[[P INT. SEA STALLION - NIGHT 1[[[[P

GOODSPEED and MASON sit with the S.E.A.L.s. Grim, determined faces. Not a word spoken.

Anderson, Boyer and the other S.E.A.L.s flip on TINY VIDEOCAMERAS mounted on their shoulders. A NAVAL MEDIC passes out SYRINGES OF ATROPINE in ANKLE SHFATHES.

Each S.E.A.L. takes one; begins strapping it to ankle. GOODSPEED shakes his head, declining.

1[[[[Q INT. PIER 39 - MOBILE COMMUNICATIONS TRAILER - NIGHT1[[[[Q

AT THE CONTROL PANEL - F.B.I. TECHNICIANS talk into headsets and watch a bank of MONITORS displaying: satellite pictures, thermographic images of Alcatraz, a computer bio of Hummel.

SANCHEZ sits at the control panel wearing a headset. Director Womack paces behind him.

1[[[[R OUTSIDE IN THE WAREHOUSE 1[[[[R

An F.B.I. SEDAN pulls in and parks. F.B.I. AGENT CORD gets out. carla sits in the back seat.

1[[[[S EXT. SKIES OVER SAN FRANCISCO BAY - NIGHT 1[[[[S

The Hueys and Sea Stallion fly in formation AT CAMERA. The Sea Stallion's running lights suddenly BLINK OFF.

1[[[[T INT. SF.A STALLION - NIGHT 1[[[[T

The two SEA STALLION PILOTS don NIGHT VISION GOGGLES.

IN THE HOLD - THE S.E.A.L.s begin to prepare themselves; checking their weapons combat wet-suits, and CLOSED CIRCUIT REBREATHER SCUBA TANKS.

The S.E.A.L.s begin to don their scuba apparatus.

MASON examines the equipment. It's more modern, but not foreign to him. He adjusts his depth and oxygen gauges. Goodspeed, having a hard time, watches Mason.

1[[[[U EXT. SKIES OVER SAN FRANCISCO BAY - NIGHT 1[[[[U

THE HUEYS, 50 ft. from the water's surface, SCREAM PAST CAMERA and bear down on Alcatraz.

THE SEA STALLION, lagging behind the Hueys, BANKS RIGHT and peels away. It descends lower, below radar.

1[[[[V INT. PIER 39 COMMAND CENTER - NIGHT 1[[[[V

The F.B.I. RADAR TECHNICIAN watches the RADAR SCREEN. ..Glowing BLIPS move toward Alcatraz. One BLIP vanishes.

1[[[[W F.B.I. RADAR TECHNICIAN 1[[[[W

They're off radar, headin' 'round Treasure Island.

1[[[[X EXT. SKIES OVER TREASURE ISLAND - NIGHT 1[[[[X

The Sea Stallion rounds Treasure Island and heads toward the rear of Alcatraz Island.

1[[[[Y INT. SEA STALLION - NIGHT 1[[[[Y

The SEA STALLION PILOT turns to ANDERSON.

SEA STALLION PILOT I got you to the strongest current in the Bay, Commander. You're on your own from here.

CUT TO: A SERIES OF SHOTS.

The S.E.A.L.s stand. Each checks the gear of the man in front of him. Straps tightened. Weapons checked. -

IN THE REAR OF THE HOLD-- FOUR S.E.A.L.s ready two high-tech 139B 3-man submersibles called 'IS.D.U.sll (Seal Delivery Units), also known as "Seal Subs."

MASON is ready to go, calm and steady, eyes forward. GOODSPEED'S still behind. He has his scuba tanks shouldered, but he can't get the lst of the tricky cATcHEs on the shoulder harness secured ...

MASON reaches over and secures, with a METALLIC DLINK, the catch. Goodspeed, embarrassed, nods.

1[[[[Z AT THE BACK OF THE HOLD 1[[[[Z

SHEPHERD, with a nod, directs MASON to sit down on the S.D.U. behind S.E.A.L. BOYER, the S.D.U.ls driver.

MASON does so. Chaney then sits behind Mason. S.E.A.L. Dando then begins buckling Shepherd and MASON onto the sled with harnesses (the unit's version of a seat-belt.)

1[[[[[ EXT. SAN FRANCISCO BAY (OFF ALCATRAZ) - NIGHT 1[[[[[

The Sea Stallion hovers 15 ft. from the surface. The BELLY DOOR opens. COMMANDER ANDERSON leans out, inspecting the drop area. he hand-signals to --

-- S.E.A.L. DANDO, reading the two S.D.U.s. GOODSPEED sits on the SECOND S.D.U. behind S.E.A.L. REIGERT. S.E.A.L. Dando begins buckling in Goodspeed.

Dando looks at Reigert. They laugh. This remark they obviously find very funny. Dando continues buckling GOODSPEED in.

And the S.D.U.ls are released, rolling out of the Sea Stallion on a set of tracks, SPLASHING DOWN into --

1[[[[[AEXT. UNDERWATER - NIGHT 1[[[[[A

-- the bay here. The S.D.U.s' XENON headlamps come on.

1[[[[[B EXT. THE SEA STALLION - DOORWAY - NIGHT 1[[[[[B

The rest of the S.E.A.L.s, carrying equipment and single man mini-S.D.U. units, jump from the Sea Stallion one by one.

1[[[[[C EXT. UNDERWATER - NIGHT 1[[[[[C

The three-man and single S.D.U.s head toward Alcatraz, passing ABOVE CAMERA.

1[[[[[D EXT. ALCATRAZ - LOWER LIGHTHOUSE - NIGHT 1[[[[[D

THE SEARCHLIGHT atop the lower lighthouse scans the bay, back and forth. It fixes on something.

1[[[[[E INT. ALCATRAZ - LOWER LIGHTHOUSE - NIGHT 1[[[[[E

Hummel and Baxter watch from the window. Captain Fryels voice emanates from the walkie-talkie.

Hummel raises binoculars. Scans the bay.

HUMMEL'S POV - THROUGH BINOCULARS - THE HUEYS AND SEA STALLION, flying low, SCREAM toward the island.

BACK TO SCENE - HUMMEL lowers the binoculars, clicks on his walkie-talkie.

1[[[[[FEXT. ALCATRAZ - WATER TOWER - ALLEY - NIGHT 1[[[[[F

Pvt. Royce clicks off his walkie-talkie.

Pvts. Royce, Scarpetti, Gamble and.Starling race off.

S.D.U.s, WHOOSH past camera. The S.D.U.s lights dim the FLUORESCENT GREEN.

CLOSE-UP on BOYER, the three-man S.D.U.ls driver, intense, determined. CLOSE-UP on Boyer's fluorescent green INSTRUMENT PANEL charting their approach to the island.

They've drawn close to the island. ' COMMANDER ANDERS6N swings an UNDERWATER SPOTLIGHT, which reveals --

A LARGE WATER INTAKE PIPE jutting out from the Island's bedrock, 7 ft. in diameter, covered by a GRATE thick with rust, barnacles and seaweed. There's a SMALL JAGGED HOLE, presumably through which MASON escaped 33 years earlier.

S.E.A.L.s cast off the S.D.U.s and direct their GREEN FLUORESCENT SPOTLIGHTS inside the hole in the grate.

MASON stares at the hole. COMMANDER ANDERSON nods to Mason: "lead the way." MASON does so. Enters the pipe. one by one, the S.E.A.L.s and GOODSPEED follow MASON in.

1[[[[[G EXT. ALCATRAZ - SHORELINE NEAR POWER PLANT - NIGHT 1[[[[[G

Pvts. Royce, Scarpetti, Gamble and Starling walk the shoreline, peering into the black water.

1[[[[[H INT. ALCATRAZ - INFIRMARY COMMAND CENTER - NIGHT 1[[[[[H

Baxter turns to Hummel:

1[[[[[IINT. ALCATRAZ - SUBTERRANEAN POWER PLANT - NIGHT 1[[[[[I

A large subterranean room under the island's . power plant. … large WOODEN CISTERN in the middle.

The S.E.A.L.s emerge in the cistern and climb out. The room

UNDERNEATH THE STEAM ENGINE is a tiny crawl space. 10 STEAM RELEASE VALVES periodically emit BURSTS OF STEAM.

MASON sits on the edge of the crawl space. F.B.I. looks inside the crawl space: WHITE HOT BURSTS of 500 degree Fahrenheit steam BLAST DOWN.

MASON takes a deep breath and he rolls --

1[[[[[JINTO THE CRAWL SPACE - MASON 1[[[[[J

logrolls one revolution... STEAM

BURST another evolution STEAM BURST another revolution STEAM BURST

MASON rolls to a stop on his side. STEAM BURSTS on either side of him. MASON collects himself. Breathes deeply and rolls again. His movements are precise, from memory. He rolls past.each burst, any imprecision certain death ...

IN THE CISTERN ROOM - GOODSPEED, ANDERSON AND THE S.E.A.L.s watch Mason, amazed.

1[[[[[K IN THE CRAWL SPACE - MASON 1[[[[[K

rolls past the STEAM RELEME VALVE and disappears.

IN THE CISTERN ROOM - Several seconds pass. We HEAR THE DOOR being unbolted. It CREAKS open. There stands Mason.

The Incursion Team files through the door and CUT TO:

up a steep incline to a LOCKED STEEL BULKHEAD. S.E.A.L.s REIGERT and DANDO check it out.

Dando unpacks an ACETYLENE TORCH. Reigert turns on the ACETYLENE VALVES (tanks rigged to Dandols gear) and sparks the torch. IT FLAMES UP, white hot.

Dando starts toward the bulkhead. MASON steps past him, bending his KITCHEN FORK into an awkward shape. He fishes the fork in the lock; twists it, and...... POP.

MASON throws open the thick bulkhead door. And climbs through the bulkhead.

arrives at a series of concrete drainage pipes. MASON points up to one of them.

MASON and the S.E.A.L.s climb into the drainage pipe.

team, Mason leading the way, climbs toward a FAINT LIGHT emanating from a DRAINAGE GRATE above.

S.E.A.L. REIGERT readies a FIBRE OPTIC SEEING DEVICE; he pushes the fibre-optic camera up through the grate.

1[[[[[LINT. ALCATRAZ - PRISON SHOWER ROOM - NIGHT 1[[[[[L

The FIBER-OPTIC CAMERA turns, looking in a 360 degree radius, and transmitting images of --

THE PRISON SHOWER - a tiled room with shower heads and a 20 160A ft. ceiling. Above, a mezzanine circles the showers; here Alcatraz's guards once watched inmates below..

1[[[[[M INT. DRAINAGE PIPE UNDER SHOWER ROOM - NIGHT 1[[[[[M

Commander Anderson views the shower room images on a TINY (2 inch by 2 inch) WRIST-HELD VIDEO MONITOR. The shower is deserted, but there's something of interest ~-

Anderson gingerly lifts the grate. Reigert wiggles his hands past the edges of the grate and nudges the beam transmitter (with one hand) and the beam receiver (with the other) away from the grate.

1[[[[[NINT. INFIRMARY COMMAND CENTER - NIGHT 1[[[[[N

A SILENT ALARM next to Pvt. Royce blinks on. Royce turns to Maj. Baxter.

1[[[[[O INT. MAIN CELL HOUSE - SHOWER ROOM 1[[[[[O

The grate pops open. S.E.A.IL.s BOYER and REIGERT, wearing NIOHT VISION GLASSES, emerge taking defensive positions back- to-back. Commander Anderson follows. Then, one by one, the rest of the S.E.A.L.s emerge.

ANDERSON directs Boyer and Reigert to a TILED COLUMN. They creep across the tiled floor, taking "check and defefid" positions behind the shower's TILED COLUMNS. But suddenly, shockingly.....FLOODLIGHTS flash on. Coming from the mezzanine above.

The S.E.A.L.s whip off their night vision goggles.

ON THE VIDEO MONITOR - We see the illumination of the shower room (transmitted from the S.E.A.L.s cameras.)

Goodspeed, Mason, and Lt. Shepherd react to the sudden illumination above.

The S.E.A.L.s whirl around, startled, unnerved, squinting into the blinding whiteness of the floodlights.

The S.E.A.L.s, terrified, hesitate but do not drop their weapons They stand back-to-back, weapons trained at the catwalk. squinting into the white light.

The S.E.A.L.s behind the tiled columns take cover. we cannot yet see Hummel and the marines. This plays with as much tension as possible. The situation is chilling:

ON THE VIDEO MONITOR - We see the floodlights above on the Mezzanine and hear Hummells voice:

HUMMEL looks down at the S.E.A.L.s. Baxter's text to him. The other marines are at positions around the mezzanine perimeter, M-16's trained and ready.

BEHIND A COLUMN - S.E.A.L.s REIGERT and BOYER stare into the floodlights.

165D ON THE MEZZANINE 165D

CPTS. FRYE, DARROW and PVTS. COX, MCCOY, have their weapons trained; they're pumped and trigger happy.

BEHIND THE COLUMN - S.E.A.L. BOYER, just 20, having never seen combat, is trembling with fear, indecision.

ON THE MEZZANINE - PVT. COXIS BOOT nudges a TILE which has come loose from its mortar. The tile inches to the edge of the mezzanine. Then it falls ......

BOYER, reacting to THE FALLING TILE, brings up his machine gun and fires A SUSTAINED BURST in its direction --

And all hell breaks loose. THE MARINES fire in unison. A cruel withering fusillade.

--- THE S.E.A.L.s in the middle of the floor take the brunt of it. They gamely return fire. But they're hit. Again. Again. Again.

IN THE DRAINAGE HOLE - Goodspeed, Mason, and Lt. Shepherd listen (and watch, when the view allows) in utter horror to the firefight above.

Lt. Shepherd scrambles up the ladder. GOODSPEED grabs him. Tries to pull him down.

Lt. Shepherd climbs the ladder.

IN THE SHOWER ROOM - ANDERSON takes a bullet in his leg. His automatic blazing, he takes a bullet in the forearm. The chest. The shoulder.

-- THREE MARINES on the mezzanine are hit and killed.

-- LT. SHEPHERD climbs out of the drainage pipe and comes up firing. He instantly takes a bullet through the visor, killing him instantly. SHEPHERD falls to his knees and pitches over, falling face first into --

THE DRAINAGE HOLE, where SHEPHERD'S lifeless eyes come face- to-face with Goodspeed, who nearly passes out, then looks away in horror.

S.E.A.L.S BEHIND THE COLUMNS return fire. They're hit, picked off.one by one.

-- MARINE COX AND MCCOY fire a 50 CAL. GUN (as powerful as anti-aircraft or anti-tank round) through the column, killing REIGERT and BOYER.

Suddenly the-firing stops. GOODSPEED and MASON freeze. Thinking fast, MASON rips the TAC RADIO from Shepherd's helmet, takes his 9 MM PISTOL and MACHINE GUN, and his SAW- TOOTHED KNIFE AND SHEATH, and climbs down.

Goodspeed, indecisive at first, clambers down after Mason.

MONITOR - An image transmitted from Anderson's helmet camera. Anderson has fallen, so this is at ground level. We see corpses and near corpses.

MASON and GOODSPEED exit the drainage pipe. GOODSPEED is panting, nearly hysterical.

CARLA peers through a crowd of F.B.I. TECHS huddled around video and audio monitors. She freezes, her hands covering to her mouth at the sound of:

Sanchez, agitated, exits the Command Trailer with Director Womack. They huddle, speaking in hushed voices.

A tense pause. Then Womack sighs, and his voice travels back three decades ...

microfilm files on prominent Americans and Europeans. de Gaulle, British members of Parliament, even the Prime Minister. The man had dirt on everyone in the world,

Goodspeed, slumped in a corner, watches MASON arm himself.

He is a different person. Alive. Now in his element. pops the clip on Shepherd's g mil gun. Inspects it. Unsheathes the saw-toothed knife. Sheathes it.

MASON grabs Shepherd's machine gun, pops the clip.

at the Canadian border but with no microfilm. It's never been found. So Hoover held him without trial. The British claimed they didn't know him.

MASON slides the clip back in the machine gun. Tests the action. obviously comfortable with firearms ...

has been incarcerated without trial on American soil since 1962. He knows our most intimate secrets of the last half century. The alien landing at Roswell, the truth about the J.F.K. assassination.

MASON, armed and dangerous for the first time in 33 long years, faces Goodspeed. Brings his machine gun up. GOODSPEED raises his -9 mil pistol in self-defense.

From the tac radio in Mason's hand:

MASON throws the tac radio at Goodspeed's feet and trudges off. GOODSPEED grabs the tac radio.

GOODSPEED hurries off after Mason.

Commander Anderson and the S.E.A.L.s lie dead, their blood running over the tiles into the drainage grate. Hummel, Baxter walk amongst the corpses.

One S.E.A.L. DANDO, is still alive. He's gurgling blood. Staring up at Hummel.

Pvt. Royce, appalled, can't bring himself to do it.

Cpt. Darrow pulls his sidearm and levels it.

Royce kneels. Feels Dandols carotid artery.

Hummel leans down. Stares into Dando's video feed.

the monitor.

The transmission goes dead.

Suddenly, SGT. drainage pipe,

CRISP bent over SHEPHERD'S CORPSE in.the shouts to Hummel:

Pvts. Cox and McCoy go to the drainage pipe.

Hummel and his men exit the Main Cell House and fan out in teams across the island.

SGTS. CRISP and CPT. HENDRIX move toward the power plant (above the tunnel traveled by MASON and Goodspeed.)

Goodspeed's still trailing after Mason.

MASON turns. GOODSPEED has his g gun trained on him. He's not the most convincing gun handler.

Sgt. Crisp and Capt. Hendrix, walking toward the power plant, hear something. Beneath them, through a VENTILATION GRATE. VOICES.

Hendrix and Crisp begin preparing a SATCHEL EXPLOSIVE.

MASON and GOODSPEED as before. MASON advances.

GOODSPEED fiddles with the safety catch. With a swipe, MASON snatches the gun. They glare at each other.

MASON walks off. Suddenly stops. THE SATCHEL EXPLOSIVE has fallen at his feet. MASON turns, looks at Goodspeed. And they sprint back, the way they came.

IN THE TUNNEL BEHIND THEM - A MONSTROUS EXPLOSION blows in the tunnel and knocks MASON and GOODSPEED to their feet.

PVTS. COX AND MCCOY attach a bundle of C-4 to A TANK OF GASOLINE and toss it down the drainage pipe.

The gas bomb detonates, blowin'g a wall of flame through the tunnel. The fire is looking for an escape, hunting and burning everything in its path.

see the wall of flame ROARING toward them. MASON grabs Goodspeed.

They dive into a pool of stagnant water, submersing as the WALL OF FLAME blows through the tunnel over their heads.

Mason, then Goodspeed, drags himself out of the water.

MASON hurries off, GOODSPEED on his tail.

The tunnel leads here, to the Civil war era dungeon. The tunnel's bricked up; brick and mortar circa 1855.

MASON moves to the bricked-up wall. Feels around the mortar. Smiles. Removes a brick. another. Another. A WHOLE CLUMP of bricks falls, revealing A HOLE.

GOODSPEED follows MASON through the hole.

MASON and GOODSPEED emerge to a ledge which faces A POOL OF DANK STAGNANT WATER. It's about 3 ft. deep.

MASON what did I do to deserve this? What God did I offend .....

GOODSPEED begins to wade into the pool.

GOODSPEED squints. The water slithers with COTTONMOUTHS. MASON unpack the QUART OF MOTOR OIL in spray bottle.

The COTTONMOUTHS, repulsed by the oil, stay away. GOODSPEED tries not to look at the snakes. They make it across.

MASON slaps the .9 MM pistol into Goodspeed's hand walks off. GOODSPEED follows.

MASON and GOODSPEED arrive at a fork in the tunnel. _

DOWN THE FORK IN THE TUNNEL - is the PRISON MONO-RAIL SYSTEM: a single rail suspended from the tunnel ceiling, upon which SMALL CARTS are suspended.

MASON nods. Moves to a STEEL-RUNGED LADDER leading to a GARBAGE CHUTE against the wall. GOODSPEED follows.

MASON and GOODSPEED emerge from the garbage chute. They hear VOICES in the next room.

PVTS. GAMBLE and STARLING are guarding the poison. Starling's walking around. Gamble's seated on a MORTICIANIS TABLE, smoking.

The door bursts open. MASON stands in the doorway. GAMBLE dives away. STARLING whirls, raising his M-16.

MASON'S HAND flashes. THE SAW-TOOTHED KNIFE flies the length of the room and buries in Starling's neck.

Gamble fires from his position around the corner. MASON and Goodspeed dive for cover behind a cabinet. GOODSPEED fires from cover without looking, his gun raised over the cabinet. Mason, underneath the cabinet, fires at GAMBLE'S FOOT. Gamble, shot, hits the deck.

GAMBLE unclips a GRENADE. Before he can pull the pin....

MASON FIRES HIS CLIP EMPTY at the AIR CONDITIONER MOUNT on the ceiling above Gamble. The mount gives; the ENORMOUS AIR CONDITIONER falls, crushing Gamble. Gamble's GRENADE, still secured with the pin, rolls away.

GOODSPEED rises. Looks at Gamble under the air conditioner. Just HIS LEGS stick out. (Note: the rest of the scene's action plays out around Gamble's legs.

GOODSPEED opens the CORPSE DRAWERS revealing the V.X-. CHEM ROUNDS (shaped like big tennis ball cans).

GOODSPEED carefully lifts out a chem round. MASON grabs one, accidentally knocking it against the drawer.

GOODSPEED and MASON set the V.X. chem rounds on the mortician's table. GOODSPEED pulls out his EQUIPMENT KIT. Begins detaching the tops of the chem rounds.

GOODSPEED reaches inside a chem round and carefully pulls out..... a STRAND OF V.X. POISON PEARLS: ping-pong ball sized glass bubbles filled with poison.

MASON stares uneasily at the pearl strands.

GOODSPEED has the chem round's GUIDANCE SYSTEMS exposed. Inside are tiny GUIDANCE SYSTEM MICRO-CHIPS. GOODSPEED plucks the chip from each chem round and pockets it.

MASON and GOODSPEED exchange a nervous look.

Hummel clicks off his walkie-talkie. Stands there a second, thinking.

GOODSPEED goes faster; his hands are sweating, trembling. It's like he's lost his spine. (And thinking about Carla, perhaps he has.)

GOODSPEED nearly drops a chem round. MASON recoils.

Hummel and his men race toward the morgue.

GOODSPEED has dealt with eight chem rounds. There should be seven more, but there's not. GOODSPEED counts them ....

MASON raises the poison pearl strands from each of the remaining four chem rounds. GOODSPEED quickly plucks the chips from the guidance systems.

Hummel and the marines converge on the morgue. Surround the door. They burst inside, guns trained.

COX, MCCOY, and DARROW fire machine gun bursts at --

174W -- MASON AND GOODSPEED 174W

sprinting across floor, BULLETS chewing the floor. They dive into the MORGUE INCINERATOR CHUTE, GOODSPEED leaving the tac radio behind ....

GOODSPEED and MASON tumble out of the chute. Two MONO-RAIL CARTS are hanging there. They exchange a look and climb into the first cart. MASON throws the cart's RELEASE LEVER. The cart glides down the mono-rail.

HUMMEL goes to the mortician's table. Sees the theft of the guidance chips.

CAPTAIN HENDRIX and PVTS. ROYCE and SCARPETTI dive into the incinerator chute after MASON and Goodspeed.

Hendrix, Scarpetti, and Royce tumble from the incinerator chute. Mason and GOODSPEED are down the Mono-rail track.

Hendrix gets in THE SECOND MONO-RAIL CART. Scarpetti gets in THE THIRD MONO-RAIL CART. Hendrix and Scarpetti pull the release levers. The Mono-rail carts rumble after GOODSPEED and Mason. Hendrix shouts back to Royce:

fly down the mono-rail: GOODSPEED and MASON (in CART 1) 50 feet ahead of Scarpetti (in CART 2), who is 50 feet ahead of Hendrix (in CART 3)

IN CARTS 2 AND 3 - SCARPETTI and HENDRIX fire M-16s.

174[ IN CART 1 - MASON 174[

and GOODSPEED duck as BULLETS RICOCHET around the tunnel walls. They pop up and return fire.

IN CART 2 - SCARPETTI arms hi over/under M-16 grenade launcher with a grenade and... FIRES.

THE GRENADE PROJECTILE shoots down the monorail tunnel.

174[A IN CART 1 - MASON AND GOODSPEED 174[A

duck as the GRENADE PROJECTILE wings over their heads, continues down the tunnel and DETONATES against the tunnel wall.

CART 1 roars through smoke and debris left by grenade explosion. As it rounds a corner, MASON grabs A SPLINTERED TIMBER and releases from the cart. CART 1, with GOODSPEED alone continues down the mono-rail.

MASON yanks down a 5 ft. long BROKEN SECTION OF SEWAGE PIPE and presses himself against the tunnel wall.

AS CART 2 rounds the corner...

WHAM!! MASON swings, hitting Scarpetti flush in the forehead, killing him and blowing him off the cart. Cart 2, without Scarpetti, continues down the mono-rail.

MASON waits. As CART 3 rounds the corner

MASON swings again But Hendrix is waiting for it. Hendrix grabs the swinging pipe and pulls MASON into Cart 3!

174[B IN CART 3 - HENDRIX AND MASON 174[B

MASON and Hendrix get to their feet.. They trade blow after blow as the Cart ROARS through the tunnel.

174[C IN CART 1 ~ GOODSPEED 174[C

looks over his shoulder at MASON and Hendrix locked in mortal combat. He pulls the CART BRAKE. Cart 1 begins slowing down. CART 2 (Scarpettils) rams into it. Now Carts 1 and 2 are together. And on comes --

CART 3 - Hendrix knocks MASON to the floor of the cart. Hendrix dives atop Mason, strangling him. mason's head is bent over the front lip of the cart. MASON looks down the mono-rail track. To his horror he sees CARTS 1 and 2 slowing down ...

174[D IN CART 1 - GOODSPEED 174[D

realizes that his cart is going to ram Mason's outstretched head. He releases the brake, and Cart 1 picks up speed ...

IN CART 3 - Hendrix draws the knife. Hendrix raises the knife. With his last strength, MASON rolls away. Hendrix plunges the knife down, missing Mason, him momentum carrying his head and shoulders over the front lip of the cart. MASON SCREAMS at Goodspeed.

174[E IN CART 1 - GOODSPEED 174[E

pulls the cart brake and --

-- CART 3 SLAMS into CARTS 1 and 2 at 20 m.p.h., crushing Hendrixls head and torso between Carts 2 and 3.

The collision knocks MASON off Cart 3, SLAMMING his head against the tunnel wall. MASON falls unconscious.to the tunnel floor, while --

-- CART 1 is shoved by the collision across.a DITCH OF WATER in the tunnel floor. GOODSPEED groggily gets to his feet. Jumps down from the cart.

In the midst of this PVT. ROYCE runs up. Sees MASON concussed, helpless. Royce draws his GLINTING KNIFE. Kneels over Mason. He's going to cut his throat.

Royce lowers the knife. Looks across the ditch at Goodspeed. The ditch is 20 ft. wide and filled with dank, stagnant water and we've seen dank, stagnant water before.

And ROYCE begins to wade into the ditch. And GOODSPEED is looking at the water, waiting... ROYCE is waist deep now. Royce feels something. He winces. Looks down at --

FIVE COTTONMOUTH SNAKES, fangs wide and white, plunging into him. Royce screams. His knees buckle. He falls to his knees in the water. A COTTONMOUTH stuck to his neck... Royce SHRIEKS again ...

And slides gently under the water.

Goodspeed, hand over hand on the monorail, eases the cart across the stagnant ditch. Hops out. MASON gets to his feet. The two exchange a look.

They stumble off down the mono-rail tunnel.

174[F INT. WHITE HOUSE - NIGHT 174[F

General Kramer, C.I.A. Director Amway, chief of Staff Hayden Sinclair and Security Advisor Louis Lindstrom.

A corrugated aluminum hangar. SUPER:

Mojave Desert United States Air Force Testing Facility

174[G INT. U.S.A.F. TESTING FACILITY WAREHOUSE - NIGHT 174[G

Looks like a Formula One garage. ROCK MUSIC blares.

Eight GUIDED MISSILES (finned, 8 feet long) hand from hoists in various states of repair. U.S.A.F. TECHNICIANS hover over the missiles.

IN A CORNER - JIMKY FISK and LARRY GILER consult.

174[H INT. ALCATRAZ - BEHIND "CHINA ALLEY" - NIGHT 174[H

MASON and GOODSPEED emerge from the mono-rail tunnel. The launcher on China Alley is in the b.g. Suddenly, from the loudspeaker above them:

MASON and GOODSPEED freeze.

of mine. I can't convince you to return them so I'll put on someone who can.

A pause. Then A MALE VOICE. Nervous. Quivering.

174[I MALE VOICE 174[I

(V.O.) (loudspeaker) Hell... hello.

174[J EXT. ALCATRAZ - PRISON EXERCISE YARD - NIGHT 174[J

LARRY HENDERSON, 48, stands at the end of the exercise yard in a SPOTLIT AREA. Capt. Darrow has his .45 placed against Larry's left temple.

174[K EXT. ALCATRAZ - BEHIND CHINA ALLEY - NIGHT MASON 174[K

and Goodspeed, crestfallen, listen. LARRY HENDERSON (V.O.) (loudspeaker) ... and they're going to oh god... (through tears) ... please don't kill me

Larry's quivering voice trails off. Replaced by:

GOODSPEED turns to Mason.

GOODSPEED unpockets the V.X. ROCKET'S GUIDANCE CHIPS. Hands them to Mason. MASON heaves them into the bushes.

MASON moves off into the night.

GOODSPEED creeps toward the China Alley rocket launcher.

174[L EXT. CHINA ALLEY - NIGHT 174[L

GOODSPEED moves under the grated, multi-level structure of china Alley. Looks up through the grate. The ROCKET LAUNCHER sits on the grate on the level above him.

174[M EXT. MAIN CELL BLOCK - NIGHT 174[M

MASON walks down the middle of the cell block toward the opening to the exercise yard.

174[N EXT. ALCATRAZ - PRISON YARD - ONE MINUTE LATER - NIGHT174[N

Darrow with his gun to Larry Henderson's head. Hummel paces in the background. MASON emerges ftom the cell block.

MASON walks up to Hummel. The two stand there a moment, regarding each other.

MASON gives Darrow a hard-eyed glance. Hummel takes a lap around Mason, sizing him up.

Glances all around. Someone laughs. Everyone laughs.

174[O EXT. CHINA ALLEY ROCKET LAUNCH STATION - NIGHT 174[O

Pvt. COX mans the launcher. Suddenly a voice:

Pvt. Cox drops his weapon. Slowly turns. Goodspeed, one hand on his gun, the other on HIS TOOLS, begins to unscrew the V.X. CHEM ROUND FACE-PLATE.

174[P ON THE GRATED LEVEL ABOVE GOODSPEED 174[P

- PVT. MCCOY appears. Looking down, he sees GOODSPEED and Cox. He cinches his REPELLING CLIP to the steel railing.

174[Q EXT. ALCATRAZ - PRISON YARD - CONTINUOUS - NIGHT 174[Q

Hummells demeanor changes. Hard now. Tight.

The marines look at Hummel, wondering the same thing. 220

GOODSPEED, still holding Cox at bay, pulls the V.X. chem round from the rocket. The going is slow. he begins to lift the POISON PEARL STRANDS from the chem round. His hand reaches to unclip the GUIDANCE SYSTEM CHIP.

Suddenly PVT. MCCOY repels to the level behind Goodspeed. Goodspeed grabs the chip and dashes off, slamming through an OLD WOODEN DOOR into the CIVIL WAR RUINS.

174[R EXT. PRISON YARD - CONTINUOUS - NIGHT 174[R

MASON and Hummel. The previous question dangles in the air: Would you have shot him?

174[S EXT. CHINA ALLEY ROCKET LAUNCHING STATION - NIGHT 174[S

Goodspeed, inside the Civil War ruins, levels his gun at the door. The chip is in his free hand.

The door CREAKS open.

174[T EXT. PRISON YARD - CONTINUOUS - NIGHT 174[T

Suddenly GUNSHOTS. Coming from China Alley. Hummel and men whirl around, startled.

174[U EXT. CHINA ALLY ROCKET LAUNCHING STATION - NIGHT 174[U

GOODSPEED wildly discharges his gun until CLICK, the clip is spent. Cox and McCoy step through the doorway.

GOODSPEED shoves the guidance chip in his mouth.

McCoy and Cox spring at Goodspeed. McCoy whips the butt end of his gun against Goodspeed's head. GOODSPEED crumples, unconscious. McCoy jams his fingers in Goodspeed's mouth.

MCCOY He bit the fuckin' thing. It's shot.

174[V INT. MAIN CELL HOUSE - CELL BLOCK 'ID" - MORNING 174[V

GOODSPEED squints through painful eyes, gaining consciousness. he looks around, taking stock of the start cell on 'ID" block. Gets to his feet. Goes to the bars:

174[W A CELL ON THE TIER ABOVE GOODSPEED - 174[W

MASON sits on a bed.

WIDENING, we see that MASON'S MATTRESS has been ripped into long strips.

INTERCUT BETWEEN THE TWO CELLS (and during the following, MASON keeps busy with his rope braiding).

GOODSPEED listens intently and

174[X INT. LONG BEACH AIR FORCE BASE HANGAR - MORNING 174[X

174[Y SUPER: LONG BEACH, CA. - U.S. AIR FORCE BASE. 174[Y

TECHNICIANS are frantically installing WILLY PETER INCENDIARY BOMBS under the wings of an F-16.

ACROSS THE HMGAR - General Peterson and Captain Giler brief FOUR F-16

174[Z TOP GUN PILOTS. 174[Z

GENERAL PETERSON The target. Alcatraz Island. This is not a precision strike. The entire island is to be blanketed.

LWO F-16 PILOT Sir, we hit that Island with Willy Peter and it's going to look like Iwo Jima. No one can survive it.

The pilots look at each other. Silence.

side of the cockpit. It's got two positions: safety and release. Throw it on release, the bomb drops in five seconds. Change your mind, throw it back on safety. Any questions?

174[[ INT. ALCATRAZ - GOODSPEED'S CELL - MORNING 174[[

GOODSPEED stares blankly into space. INTERCUT between the two cells again.

MASON rises. Lifts the bed. Pulls off the bed's heavy ROLLING CASTER. Knots the caster onto one end of the braided rope.

MASON leans out his cell and tosses the rolling caster down the cell block. The braided rope, tied to it, plays out to it's full length.

GOODSPEED (CONT’D)

I only ask because, in our current situation, it might be useful information ...

The result: the braided rope lies across the cell block floor, the rolling caster tied to it. MASON holds the other end of the rope through the bars of his cell.

-- shooting in an arc around the corner of the cell block, still pulling the rope, where --

-- the caster-pulled ROPE catches the CELL RELEASE LEVER against the wall. The rope coils, WRAP WRAP WHAP, around the release lever handle.

THE CELL DOOR RELEASE LEVER pulls down and --

-~ MASON'S CELL DOOR (and all the doors on that tier) open at once. And

174[[A INT. GOODSPEED'S CELL - MORNING 174[[A

GOODSPEED hears the doors opening above him.

Suddenly Goodspeed's cell door opens. GOODSPEED exits the cell. MASON stands there.

MASON motions to a HEAP OF THEIR GEAR (clothes, weapons, flares) in the corner of the cell tier.

Hummel glares at Frye, then at the phone. Frye and Darrow

wall reads 13 minutes to go. General Kramer, Security Advisor Louis Lindstrom, and C.I.A. Director Milton Amway.

The Naval Attache enters excitedly. NAVAL ATTACHE General, the white phosphorous attack is operational.

General Kramer grabs the phone.

MASON emerges from the parade ground ruins and moves down the embankment toward the water. GOODSPEED stays above.

MASON begins climbing down to the waterline.

Hummel, with Baxter, Hendrix, Frye, Darrow and Crisp. The atmosphere is now so fucking thick you can cut it.

a cushy job at Pendleton. As of this moment I am subject to prosecution for treason and murder. Do you know what that means. It means the electric chair. For all of us.

All eyes on Hummel now.

Hummel nods and

Capt. Frye and Sgt. Crisp approach the rocket launcher across the roof of the main cell house.

the water now.

Goodspeed, disgusted, turns and heads back, grumbling.

CAPT. FRYE AND SGT. CRISP on the roof, ready the rocket launcher. Hummells VOICE comes over Fryels walkie-talkie:

Hummel stares at a GRIDDED MAP OF THE BAY ARF.A.

Frye presses the ignition switch. The ROCKET'S TAIL fires. It ROARS off the launcher. Toward Oakland.

CLOSE ON MA-SON - as he watches the V.X. ROCKET ROARING over his head toward civilian populdtion.

the F.BI. RADAR TECHNICIAN stares at the RADAR SCREEN.

227H F.B.I. RADAR TECHNICIAN 227H

They fired a rocket. It's headed east.

Everyone stares at the radar screen. A hush.

The two men clasp hands and

FOOTBALL FANS scream as THE OAKLAND RAIDERS sprint onto the field. Above, unbeknownst to anyone --

The V.X. ROCKET arcs over Oakland and --

-- Hummel, Baxter, and Darrow stare at the transmission from the rocket's optic camera.

ON THE VIDEO MONITOR - We first see CLEAR SKY. The rocket reaches its apex. Blue sky is now replaced by THE OAKLAND COLISEUM directly below. We descend on 60,000 people.

watches the video monitor nervously. His jaws twitch.

He looks at the ROCKET GUIDANCE CONTROL COMPUTER. He looks at the video monitor.

He can't take it. Hummel lunges for the ROCKET GUIDANCE CONTROL COMPUTER. Darrow tries to restrain him, but -- Hummel punches in NEW

227M COORDINATES -- 227M

The V.X. Rocket's GUIDANCE CONTROL suddenly BLINKS RED. the rocket veers off on a new vector. Heading now toward San Francisco Bay. And

The F.B.I. Radar Technician reacts to the change in the rocket's trajectory.

227P F.B.I. RADAR TECHNICIAN 227P

Sir, it's heading.,.into the bay?

A CHARTER FISHING BOAT bobs in the bay.

Four GUYS are fishing. Relaxing. Drinking beers. one guy looks up. Sees something.

screams down. at 500 ft. altitude it DETONATES. Showering a cloud of V.X. POISON onto the bay.

The FISHERMEN stand there, stunned as DROPLETS OF V.X. POISON fall upon them. It's like a grey drizzle.

The Fishermen exchange looks. Hold out their hands, catching "rain drops". One of them spasm. Another. The others. Skin turns black. Blood runs from pores.

Frye and Crisp stare across the Bay in disbelief.

Frye, disgusted, races down the STAIRS.

Frye stalks into the infirmary. MASON and GOODSPEED come around the corner and steal inside the infirmary.

Chief of Staff Hayden Sinclair stands before the desk of the President of the United States.

The President (who we don't see) gazes into the East Garden.

The President hits his INTERCOM to the room where his cabinet is gathered. INTERCUT with the authorities, reactions, as needed:

On the other, Frank Hummel. That we have ignored or abandoned or marginalized a great soldier like Frank Hummel and that American boys have paid the price of that neglect in blood, is equally real, and equally tragic.

Sanchez, Womack, Carla, silent around speakerphone.

The F-16s ROAR down the runway, lifting into the sky.

MASON and GOODSPEED move silently down the corridor. They pass the HEAVY STEEL DOOR of the Marinets Command Center. It's ajar. Voices emanate within.

GOODSPEED and MASON move inside the adjacent room. B253

a 4 x 16 inch slit in the wall.

MASON and GOODSPEED position themselves on either side, watching and eavesdropping on the drama unfolding within.

Frye, Darrow and Baxter. All staring at Hummel.

Darrow draws his .45, levels it at Hummel. INTERCUT with MASON and Goodspeed's reactions.

Major Baxter looks from Darrow to Hummel.

Hummel blinks. He can't believe this.

and MASON exchange a tense look. mason aims his gun through the slit ...

HUMMEL draws his .45 but Baxter fires first, hitting Hummel squarely in the chest.

HUMMEL , gunshot, reels toward the STEEL DOOR behind him. He wrenches it open and lunges outside into the corridor. IN THE CORRIDOR - MASON fires into the command center, sending Frye and Darrow diving for cover.

drags Hummel inside. Hummel collapses against the wall.

His blood runs across the tiled floor. MASON takes a defensive position in the washrooms doorway.

DARROW AND FRYE attack through the infirmary's maze of rooms, taking cover where they can, squeezing off rounds.

MASON fires at Darrow and Frye from the doorway while GOODSPEED kneels over Hummel. Hummells dying and knows it. he stares at Goodspeed through glassy eyes.

Hummel dies. MASON and GOODSPEED turn from Hummel to each other.

the exit toward the lower lighthouse.

As Frye holds down MASON with fire, Darrow sprints for the opposite exit. Frye, firing while retreating, moves back inside the Command Center.

GOODSPEED exits and sprints toward the lower lighthouse.

Sgt. Crisp smokes a cigarette next to launcher. GOODSPEED enters, gun raised. Crisp spins, drawing his .45.

advances toward the command center's door. Suddenly the HEAVY STEEL DOOR creaks open and --

-- A SATCHEL EXPLOSIVE flings out, sliding across the corridor floor toward Mason. MASON turns and sprints away. Frye bolts from the room, s printing the other way.

Goodspeed's detached the V.X. CHEM ROUND from the rocket. He's about ready to pull out the poison pearls when..

DARROW barges in. GOODSPEED, c hem round in hand, moves behind the stairway and scaffolding in the room,s middle.

CONTROL COMPUTER, into walkie talkie.

Pvts. Cox and McCoy, standing watch, leave the watch tower and hurry toward the infirmary and lower lighthouse.

Darrow moves one way, GOODSPEED the other. GOODSPEED holds the chem round in front of him.

these pearlslll kill everything within 200 feet. You know how this shit works?

Darrow drops his gun. Pulls out a TITANIUM BLADED KNIFG.

Darrow advances on Goodspeed. The only route to GOODSPEED is between the rocket and the window. Darrow continues advancing., GOODSPEED eyes the launcher's IGNITION SWITCH. As Darrow passes between thewindow and the launcher ....

Darrow lunges. GOODSPEED stabs the IGNITION SWITCH. The VX ROCKET LIFTS OFF, HITTING Darrow square in the chest.

-- The VX ROCKET BLOWS Darrow THROUGH THE WINDOW and wings off, clearing the cliffs. Darrow falls from the rocket --

DARROW plummets, IMPALING himself on a STEEL FENCE SPIKE. The VX ROCKET swerves madly across the bay --

247S F.B.I. RADAR TECHNICIAN 247S

Second rocket's away, sir. (confused look) It went in the Bay sir.

Goodspeed's alone now with the last V.X. CHEM ROUND. He - pulls out the STRAND OF POISON PEARLS. Suddenly an AXE BLADE comes through the door. outside --

door lock with a FIRE AXE.

GOODSPEED looks around frantically. Only one place to go. Up. GOODSPEED scrambles up the interior metal stairs.

POISON PEARL STRANDS, his hand shaking. With the other hand, he unclips the ROCKET GUIDANCE CHIP.

The COPPER STRANDS holding the pearls are corroded. A strand BREAKS. Four PEARLS fall. GOODSPEED catches three. The FOURTH drops, hitting his SHOE. It rolls along the rooftop. GOODSPEED sets aside the other pearls and dives, grabbing the stray pearl an inch from the roof,s edge.

Suddenly THE HUGE LIGHTHOUSE WINDOW behind GOODSPEED EXPLODES, showering GOODSPEED with glass.

ON THE ADJACENT ROOFTOP ~ PVT. MCCOY, wielding a smoking

burst, emptyinc his entire ammunition belt.

THE LIGHTHOUSE SEARCHLIGHT FRESNEL blows to shreds. GOODSPEED rolls away, GLASS SHARDS raining down on him, cutting him-. He's a sitting duck.

MCCOY casts aside the .60 Cal and unshoulders a SNIPER RIFLE. Draws a bead on GOODSPEED again. GOODSPEED, bleeding, terrified, cowers, awaiting death.

A SILHOUETTE APPEARES behind McCoy. It's MASON, dirty and bloodied. McCoy spins. MASON bats the rifle aside, KNEES McCoy in the solar plexus, grips McCoyls NECK -- SNAP! -and HURLS him off the roof. McCoy falls 5 floors.

GOODSPEED gives MASON a thankful glance. And hears THE DOOR BURST OPEN BELOW.

FRYE roars inside. Looks around. Starts up the stairs.

FRYE barges onto the roof. Sees the DISMANTLED CHEM ROUND. Goodspeed's at the edge of the roof looking down.

Frye raises his M-16 as GOODSPEED jumps. Lands hard on the ground below and sprints off.

GOODSPEED sprints toward the NEW INDUSTRIES BUILDING.

Frye fires form the roof. M-16 ROUNDS kick up dirt around Goodspeed. Frye curses and head back down the stairs.

exits and sprints after Goodspeed. INT. MAIN CELL HOUSE - STAIRWELL - DAY Mason come down the stairs. Suddenly PVT. COX looms on the stairs below. Faces off with Mason. Cox draw his knife and lunges. MASON catches Cox' wrist.

Cox, with his free hand, hits Mason. Hard. MASON recoils. Counter punches. On comes Cox. He's huge and menacing. He hits MASON again. Again. Again. Cox has MASON backed up to the stairwell. -

247[ INT. NEW INDUSTRIES BUILDING - DAY 247[

Goodspeed, frantic, sprints across the floor, SPLASHING through puddles. He loses his footing. falls and slides across the floor, clutching the guidance chip an,d pear.

He gets to his feet. LIMPS behind some RUSTY MACHINERY.

FRYE enters. Sees RIPPLES IN PUDDLES left by Goodspeed. Frye creeps across the floor. Following the ripples.

247[A INT. MAIN CELL HOUSE - STAIRWELL - DAY 247[A

Mason's nearly through. Backed up against the railing. Cox comes in again. WHAM WHAM. MASON spits blood and teeth. MASON'S moves to his pocket. As Cox comes in for the death blow --

MASON pulls the MOTOR OIL from his picket and sprays it in Cox's eyes. The big man is dazed, blinded. MASON steps aside and rams Cox over the railing. Cox falls to his death on the floor below. MASON looks down at him.

247[B INT. NEW INDUSTRIES BUILDING - DAY 247[B

Frye creeps close to Goodspeed's hiding place. GOODSPEED lunges from behind the machinery, jamming his fingers into Fryels mouth and ramming home the POISON PEARL.

GOODSPEED HAMMERS his fist into Fryels JAW. We hear the glass breaking in Fryels mouth. Fryels eyes widen. GREY SMOKE SPEWS FROM HIS MOUTH AND NOSTRILS. His eyes bulge.

GOODSPEED tries to step away. Frye bearhugs him, pressing his face close. Frye open his mouth, spewing forth a CLOUD OF POISON in Goodspeed's face.

GOODSPEED shoves Frye away. Frye drops, his body quivering. Blood pours form his ears and nose. Frye spasms in a sickening dance of death.

GOODSPEED reels away,. COUGHING. Dizzy, he falls to his knees. He's gassed and knows it. Desperately, he rips at his PANDLEG. A SYRINGE taped to his calf. ATROPINE.

He pulls it free and hesitates. A beat, then -- He PLUNGES the long needle into his chest. Into his heart. Depresses the plunger.

247[C EXT. SKIES OVER SAN FRANCISCO BAY AREA - DAY 247[C

-- The F-169, flying north along the California.Coastline, bank right and dive down onto San Francisco Bay.

247[D INT. NEW INDUSTRIES BUILDING - DAY 247[D

Goodspeed's world slows down. Is he dying? He sees IMAGES in SLOW MOTION He and Carla together his parents moments from his childhood...

Slowly Goodspeed's breathing normalizes. He gazes up at the dawning sky. SEES something shimmering in the distance. Through the HEAT WAVES ...

247[E THE SOUADRON OF F-16S. 247[E

247[F INT. PIER 39 COMMAND CENTER - DAY 247[F

Sanchez, Director Womack, and the F.B.I. TECHNICIANS watch from the window as --

THE F-16s wing across the Bay toward Alcatraz.

247[G EXT. NEW INDUSTRIES BUILDING - DAY 247[G

247[H EXT. SAN FRANCISCO BAY BRIDGE - DAY 247[H

The F-16s fly under the span of bridge, just 50 feet off the water, shooting up a PLUME OF WATER.

slow motion, waves the flares.

on this air-to-air mike.

LEAD F-16 PILOT Arm up.

247[I INT. PIER 39 - F.B.I. COMMAND CENTER - DAY 247[I

CARLA watches the approach of the F-16s on Alcatraz in horror. Every second is excruciating.

247[J EXT. WORLD WAR II BUNKER (SPOTTING POSITION #1) - DAY247[J

A hilltop on the Marin side of the Golden Gate Bridge. Two spotters watch the action through SPOTTING SCOPES. SPOTTER 1 watches the F-16s. SPOTTER 2, watching ALCATRAZ, nearly jumps out of his skin.

A RADIO OPERATOR fires a message to command.

247[K INT. PIER 39 ~ F.B.I. COMMAND CENTER - DAY 247[K

247[L EXT. ALCATRAZ - SHORELINE - DAY 247[L

On come the F-16s, ROARING over Alcatraz. They're almost on top of GOODSPEED now. It's too late. It's all over.

247[M INT. LEAD F-16 - 247[M

247[N -16 - COCKPIT - DAY 247[N

247[O ABORT, RED THUNDER, ABORT! 247[O

LEAD F-16 PILOT Abort. Abort.

THE LEAD F-16 PILOT safeties the bomb release lever. 276

247[P - COCKPIT - DAY 247[P

The REAR F-16 PILOT is wrestling with his release lever. It's stuck. He can't "safety" it.

247[Q REAR F-16 PILOT 247[Q

Sir, something's wrong. I can't disengage... !

247[R LEAD F-16 PILOT 247[R

Then peel off...

247[S EXT. SKIES OVER ALCATRAZ - DAY 247[S

The four F-16s veer away from the island. But for the REAR JET, the order came too late ...

247[T EXT. REAR F-16 - WING UNDERCARRIAGE - DAY 247[T

The REAR F-16 releases its Willy Peter canisters. They plummet to the island.

247[U EXT. ALCATRAZ - NEAR NEW INDUSTRIES BUILDING - DAY 247[U

The WILLY PETER CANISTERS land, detonating on impact in a MONSTROUS INFERNAL EXPLOSION.

The awesome concussion knocks GOODSPEED off the New Industries Building pier into the bay.

247[V EXT. UNDERWATER - DAY 247[V

Goodspeed, concussed in the water, tries to keep consciousness. He can't. He sinks.

ANOTHER FORM appears above him. It's MASON, swimming for Goodspeed. MASON gets under his arms and pulls him up.

247[W EXT. ALCATRAZ - SHORELINE - DAY 247[W

MASON drags GOODSPEED ashore.

Sanchez, Director Womack and the F.B.I. TECHNICIANS stare out the window at Alcatraz, enshrouded in PLUMES OF SMOKE.

Total silence. Only CARLA, weeping quietly in the corner. SANCHEZ puts his arm around her. Ushers her away. Suddenly a VOICE CRACKLES:

Director Womack grabs the mike.

GOODSPEED stares at Mason, letting the question dangle.

A pause. The question still dangling there. Then:

GOODSPEED hangs up. The two men regard each other.

MASON smiles. GOODSPEED smiles back. There is an immediate tacit understanding.

Goodspeed, confused by this, gives MASON a look. Slowly turns around. Camera doesn't leave him.

GOODSPEED turns around. John Paul MASON is gone.

GOODSPEED is standing on the dock. Sanchez comes down the gangplank.

WOMACK elbows past GOODSPEED and Sanchez.

Womack glares at Goodspeed, who takes the phone.

GOODSPEED hands the phone to Womack. Womack looks at the phone. Slowly takes it.

Womack grimaces. Goodspeed, smiling to himself, turns away. CARLA races into his arms. A long, warm embrace.

A jeep motors up the Freeway. Passing a sign: VANCOUVER 30 MILES.

MASON and Jade. Jade driving. Father smiles. Daughter smiles back.

BEGIN CLOSING CREDITS. The following plays over:

A beat-up PORSCHE SPEEDSTER exits a BAPTIST CHURCH.

Carla is driving. GOODSPEED next to her. He opens a WORN PLASTIC CANISTER. Spools out a REEL OF MICROFILM.