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ASSASSINS

Draft by

Brian Helgeland

Based on a Screenplay by

Larry and Andy Wachowski

SILVER PICTURES and DONNER/SHULER DONNER
in association with 

WARNER BROS.

March 30, 19954000 Warner Boulevard

WARNER BROS.Burbank, California 91522-
All Rights Reserved

FADE IN:

1 EXT. PLAZA COLON/INT. BANK - DAY (1980) 1

BLACK and WHITE.  The past was so clear-cut.  Or was it?

Tiled roofs, the stark white stucco of a colonial town
square.  Black iron bars at a bank.  A briefcase carried 
in a man's hand.  A sniper's rifle being assembled.  Thick
blocks of hundred dollar bills.  Placed in the briefcase.  
A man's teeth as he smiles grimly at the sight. 

Sounds over a SUBJECTIVE VIEW.  The BRIEFCASE SNAPS SHUT.  
A VAULT DOOR SLAMS.  RUBBER SOLES WALK a tiled floor.  
Ahead, brilliant, white light suffuses the exit.  Like 
the way people describe near-death eperiences.  We're 
either going outdoors or over to the other side. 
 
A long rifle silencer juts from a window.  We see the
shooter FROM BEHIND, a view OVER his shoulder.

In the bank, the man crushes out a cigarette.  A pause
and a DEEP EXHALE as we step outside into a flood of light.  
In answer, the LOW PUFF of a SILENCER.

Only the plaza pigeons notice.  As they take flight... 

A man lies dead on the cobblestones.  And as we look UP 
TOWARD the window, there's nothing there.  The pigeons
wheel above the plaza.  We FOLLOW, finally losing them
to the sky.  SLOWLY that sky BLEEDS from gray to blue.

And as we PAN BACK DOWN...

DISSOLVE TO:

2 EXT. MARSH - SUNSET 2

We're no longer in a plaza, but in a vast marshland.  Not
in the past, but in the present.  The sun sparkles over
the water.  Two silhouetted figures move past in the dis
tance.  One walks a little behind the other.

The man in front is KETCHAM.  He wears an expensive suit
and Gucci loafers.  He swats at flies nearly too small to
see, curses under his breath at the calf-deep mud.

The man behind is RATH.  He moves easier; the flies don't
seem to bother him at all.  His jeans are tucked into 
rubber boots.  He holds a silenced .22 at his side.  Like 
it was part of him. 

They continue until one of Ketcham's shoes is sucked off
by the mud.
				KETCHAM
		Aw-shit...

Ketcham balances on one leg, holding his silk-socked 
foot in the air.  The shoe disappears, filled with mud.

				KETCHAM
		When I first saw you I wasn't 
		scared.  I was just wondering why 
		you were dressed like that.
			(re:  mud)
		Now I know.  
		
Ketcham pulls off his sock, sticks his foot in the mud.
He smiles.  It feels good.  He pulls off the other shoe, 
tosses it.  Grabbing for the other sock, he loses his 
balance and sits down in the mud. 

Rath waits patiently as Ketcham laughs at the absurdity
of it all.  Ketcham finally pulls the sock off, then 
stands, digs his toes into the dark, wet earth. 

				KETCHAM 
		This feels good. 
		
They move on, Rath still a little behind.  Ketcham enjoys
the new sensation, but after a bit, the pleasure fades. 

				KETCHAM
		It's twisted, but I'm honored.  
		You're the best.  It means at 
		least they're still afraid of me. 
			
Ketcham looks ahead as they close on a grove of trees. 
He knew they were going somewhere, but it's a chilling
realization all the same. 

				KETCHAM 
		I knew this day would come.  But 
		this morning, I could've sworn I 
		was going to live forever. 
		
They're only a few steps away from the first of the 
trees.  Desperation begins to creep into Ketcham's voice.

				KETCHAM
		Any chance of you telling me who 
		the Contractor was?  Huh?
			(off no answer)
		At least tell me how much I was
		worth.  A dime?  Two?
		
They're into the trees.  Ketcham doesn't need to be told.
He stops just where a dead branch hangs from a tree. 

				KETCHAM
		Here?

Rath uses the .22 to gesture Ketcham to the left.  Ketcham 
gives the branch a wistful smile.  Leaving his last hope 
behind, he takes a few steps over. 

				KETCHAM 
		We both play the game, Rath.  
		Sooner or later the wheel turns.
		For everybody.  Who's got your
		bullet?  What kind of shoes'll
		you be wearing when the day comes?
		
Rath's answer is to move directly behind him.  Ketcham 
is finally showing his fear.

				KETCHAM
		Whatever the contract is, I'll
		double it.  Just say you couldn't 
		find me.  Buy yourself some good 
		karma. 

Ketcham can't see, but he almost senses it as Rath raises 
the silenced .22 to the back of his head. 

				KETCHAM 
		Oh, God.  Don't pull yet, not yet.
		Christ, I've done some bad things 
		in my time.
			(trembling)
		I can't die like this.  Not like 
		a mark.  I'm not a mark!
		
Finally, Ketcham begins to just cry.  Nothing left to say.  
A man in mourning for himself.  But Rath is not 
unaffected, not without his own peculiar version of mercy.

Keeping the .22 steady, an inch behind Ketcham's head, 
Rath reaches into his jacket.  He pulls out a second, 
nearly identical silenced .22.  Ketcham looks down, 
curious as the clip drops into the mud at his feet.  

Rath, ready to fire at any sign of trouble, gently eases 
the gun into Ketcham's hand.  Ketcham looks down, smiles.  
It's his gun, his dignity.

				KETCHAM 
		Hello, old friend. 
			(hefts it; knows)
		One in the chamber.

Slowly, so Rath can see, Ketcham raises the .22, sets the
tip of the silencer against the side of his head.  He 
squints at the sun, the last thing he'll ever see.

				KETCHAM 
		Last few years I've been looking 
		for a sunrise.  Maybe a sunset's 
		better.
			(a beat)		Thanks, Rath.
		
The sun disappears over the horizon.  Ketcham squeezes 
the trigger.  The SILENCER WHISPERS and he crumples, 
begins to sink into the mud. 

Rath lowers his gun.  He takes a deep breath and lets it 
out slowly, standing alone in the middle of nowhere.  We
TILT DOWN TO an EXTREME CLOSEUP of blood in the water.

3 INT. HOTEL ROOM - DAY (LATE AFTERNOON) 3

Rath closes the curtains.  There is a makeshift office on 
the desk.  A cell phone is connected to a lap-top computer.  
The prompt flashes epectantly.

On the coffee table, we see the dismantled .22, spread 
clean on a white towel. 

Rath stands at a window looking out at the city.  He 
leans forward until his forehead rests against the window.  
He closes his eyes, enjoying the cool of the glass. 

A beat.  Then he looks to the street below.  For just an
instant, he's wondering what it would be like to fall. 
Breaking from his reverie, Rath steps to the desk. 

He sits, regards the computer with loathing, then types 
in a long access code sequence.  He waits.

After a few moments, a line of dialogue appears.  Rath 
is communicating with someone... The Contractor.

Contractor:  Where have you been, Robert?
Rath:  Sick.  The flu. 

3A INT. CONTRACTOR'S OFFICE - LATE AFTERNOON 3A
EXTREME CLOSEUP OF eyes, hands, mouth, computer, etc. 
Contractor:  I don't believe you.

3B BACK TO RATH 3B

				RATH
		I don't care what you believe.
		I want out.  I've had it.
Contractor: I've been sitting on a prime contract.

But these days, something else is on Rath's mind.

				RATH
		Who are you, you sonuvabitch?

Rath:  Send the file.  I'll have the estimate tonight.

Contractor:  I'm worried about you, Robert.

				RATH
		You should be. 

Rath:  Don't be. 
Contractor:  Good.  You are my #1.
The screen goes blank.  A beat and the word "TRANSMITTING" appears.  Rath stands. 

A slimline PRINTER HUMS, starts to reproduce a newspaper 
photo of ALAN BRANCH.  Strong.  Hard eyes which Rath 
studies a moment, then circles.  As a second sheet 
feeds, Rath isn't that interested. 

4 EXT. CITY STREETS - SUNSET 4

Mist fills the air.  As night comes on, Rath walks.  He
has no real purpose at the moment.  And the crowds don't
magically seem to get out of his way.  He watches them
laughing, talking, hurrying this way and that.  Rath's a
loner.  An outsider.  Life moves around him, but he's not
part of it.  At least not this version.  The mist turns
to darkness.

5 INT. MALL - UPSCALE WOMEN'S CLOTHING STORE - NIGHT 5

Rath pauses, his eye caught by a scene inside.

A dowager berates a female CLERK.  The Clerk takes it
stoically, nodding, placating.  Huffing and puffing, the 
dowager heads back to the racks.  The Clerk watches her 
in easperation.  No one deserves this kind of abuse.
Rath is going to continue when, on an impulse, he decides
to enter the store instead.

6 INT. UPSCALE WOMEN'S CLOTHING STORE - NIGHT 6

Rath steps inside, begins to look around.  The Clerk sighs
to herself.  Another customer and it's almost closing time.

The dowager jams the dress back on the rack and it fallsto the floor.  She ignores it, but Rath doesn't.

				RATH
		I think you dropped something.
The dowager gives him a look.
				RATH
		Maybe you better hang it back up.

And it isn't a question.  The woman looks shocked, then
gruffly hanging the dress back up, hurries out of the
store.

Tired, a bit apprehensive, the Clerk gives Rath a moment
before joining him.

				CLERK
		Can I help you, sir?  We're just
		closing.

Rath suddenly wonders what the hell he's doing here.

				RATH
		I'm looking for something.  I, I'm
		not sure what.
		
				CLERK
			(knows the routine)
		Birthday?  Anniversary?

Rath shakes his head.  There's something sad about him,
but she misreads it.

				CLERK
		A fight.

Rath starts to say something, but then stops.  She takes
it as a yes to her question.

				CLERK
		You said something you regret?

A beat.  It takes Rath a moment to confess:h)0*0*0*
				RATH
		Regret... Yes.

She thinks, decides on a way to get rid of him.

		CLERK		Are you really sorry?

Rath nods.  He is.  Finding what she's looking for, she 
holds up an elegant red velvet dress.

				CLERK
		Bring this home and she'll say
		she's sorry.  But it's expensive.

That price tag should get him out of here.  A beat.
There's something oddly appealing about the moment.  It's
hard to say, but Rath is charmed.  Then, almost shyly...

				RATH
		She's about your size.  Would
		you?...

The Clerk is caught off guard by this request.  She is
all alone and it is getting late.  Still, it'd be nice
to end the day with a sale.

				CLERK
		Give me two minutes.

 7 INT. MALL - UPSCALE WOMEN'S CLOTHING STORE - NIGHT 7
Rath stares out the window.  There's something mournful
almost haunting about him.  An old soul to be sure.

8 INT. UPSCALE WOMEN'S CLOTHING STORE - NIGHT 8

Rath scans the empty store, then checks his watch.  He's
lost his mind.  As he heads for the door, the Clerk steps
out.  The transformation is stunning.  Rath stops short,
takes in the beauty of it all.

				CLERK
		What do you think?

				RATH
			(soft, gentle)
		It's perfect.

She can't believe it.

				CLERK
		I'll write it up? 

She steps to a desk, scribbles out a receipt.  Rath
notices an open textbook, several lines have beenhighlighted.

				RATH
		College?

				CLERK
		Do you think I'm too old?... My
		daughter says I'm too old to go
		to school... I just sit in right
		now.  I don't have the money yet.
		But I don't want to spend the rest
		of my life selling somebody else's
		dresses.  I mean, you're never too
		old to have dreams, right?  To
		start over?

Rath looks away, can't hold her gaze.

				RATH
		I don't know.

An awkward beat.  Then...

				CLERK
		Should I wrap it?
Rath nods.

8A BACK ROOM 8A

CLOSE as she finishes tying the box.

9 STORE 9

She steps out.  Her smile fades as she sees he's gone.
The sale is lost.

				CLERK
		Damn!

She plops the bow on the counter, then notices a wad of$100 bills sticking out from her textbook.

				CLERK 
			(softly)
		Damn...
		
She pulls them along with a note written on the back of
a store business card.  She reads it.
INSERT CARD:  Your daughter is wrong.
She steps to the window, looks out.  Rath's lonely figure
exits to the street outside.

10 INT. HOTEL ROOM - NIGHT 10

Outside it is raining.  Rath is at the window looking at
a faed photo of his net target, Alan Branch.  On the
street below a fire truck and an ambulance race along --
SIRENS BLARING.  Rath crosses to his bed.  He reviews
photos, scribbles notes as he scans articles, one head-
line:  "Billionaire Recluse Linked to Financing of 
Central American Death Squads."  A photo of a brother.
An obituary mentions "car accident."

Rath sketches a diagram on a legal pad.

Satisfied with what he's got, he calls up a box on his
computer screen and dials an Internet number.  A beat
and he enters the access code.

Rath picks up the photos of Branch.  Studies the eyes --
circled, the only thing that matters.  They're cruel
eyes.

The network comes on line.  Rath takes a brath, lets it
out slow.  Types:

Rath:  I have my bid.

11  OMITTED 	 11
thru 	 	 	 thru
12 	 	 	      12

13 EXT. AIRPORT - RUNWAY 32 - DAY 13

An American Airlines 757 approaches right to left,
descends toward the runway.
14 INT. AMERICAN AIRLINES 757 - DAY 14

Staring pensively out the window, Rath barely notices as
the plane touches down.

15 EXT. AIRPORT - RUNWAY 8 - DAY 15

Someone else is here.  Left to right, an Avianca
Airlines jumbo 747 glides silently down, its landing
gear reaching out like talons.  As it touches down...

16 INT. AMERICAN TERMINAL - DAY 16

Rath walks, blends in perfectly with the crowd.

17 INT. INTERNATIONAL TERMINAL - DAY 17

Tired travelers trudge, clogs the concourse.  But one
man moves briskly.  Singular of purpose.  Dressed
stylishly, we don't quite see his face.  He's BAIN, a
presence, and for whatever reason, no one ever seems to
be in his way.

18 INT. LUGGAGE CAROUSEL - DAY18

Rath reaches down, picks up a case.  

19 INT. CUSTOMS - DAY 19

A glass booth.  A similar case is checked off.  The
CUSTOMS OFFICER looks up at Bain, who we still only see
in glimpses.  And reflections.

				OFFICER
		Is your visit business or pleasure?
		
				BAIN
		Both.

 20 EXT. AMERICAN TERMINAL - DAY 20

Rath gets into a hotel courtesy van, blending in with
everyone else.

21 EXT. INTERNATIONAL TERMINAL - DAY 21

Seen FROM BEHIND, Bain cuts a swath, raises a hand for
a cab which immediately scoots forward to meet him.

 
22 EXT. CITYSCAPE - DAY 22

Pretty, but with a sense of foreboding.  It isn't big
enough for the two of them.  Bain's cab moves briskly along.

 23 EXT. OAKWOOD CEMETERY - SUNSET 23

The sky glows red.  The taxi waits, parked just inside 
the gates.  In the distance, Bain moves among...

HEADSTONES 

There are rows of chairs set up.  A fresh grave has been 
dug.  Preps for a service tomorrow.  Perfectly at home, 
Bain wanders as though looking for something specific.

An old CARETAKER in a pair of worn coveralls watches from 
a mausoleum.  His voice dies on the wind.

				CARETAKER
		Can I help you?
		
Bain turns.  It's our first good look.  His features are 
strong, refined.  He looks like a fine young man.  He's 
not.  He smiles warmly.

				BAIN
		I'm looking for someone. 
		
				CARETAKER
			(steps over)
		What's the name?  I'll check the 
		plot map for you.
		
				BAIN
		He's not dead yet. 
		
Turning, Bain heads off.  The Caretaker just shrugs.

24 INT. DRUG STORE - MAGIC HOUR 24

FROM OUTSIDE we see Rath move down the aisles.  Selecting
an odd array of items.  Rolls of gauze.  A box of plaster
of paris.  A sling... He pays and exits onto the busy
sidewalk.

25  OMITTED 	 25
thru 	 	 	 thru
26B 	 	 	 26B

27 EXT. OAKWOOD CEMETERY - DAY (LATE AFTERNOON) 27

A crowd of onlookers.  Police lines.  Private securityguards control entrance into the service area itself.
The media are here in full force.
					
				REPORTER #1
		... Just witnessed the arrival of
		recluse billionaire Alan Branch.
		Here attending the funeral of his
		brother, Samuel Branch, who died
		last week in a tragic car accident...

We MOVE PAST Reporter #1 TO...

				REPORTER #2
		Alan Branch has not been seen since
		testifying at a Senate hearing ten
		years ago.  At the time he was
		questioned for his alleged
		financing of right wing death
		squads throughout South and 
		Central America.  Branch was
		born in...

28 SECURITY TABLE 28

Seated, a "Security Systems" tech checks a name against 
a driver's license with Rath's picture.  It carries the
name Paul Gray -- the name Rath typed into the computer. 
He looks up and hands the license back to Rath.

As he turns we see that under his jacket, his right arm 
is in a cast, in a sling close to his side.  He moves 
past a hearse and several limousines as he joins other 
latecomers who are walking up a hill towards a group at 
a gravesite.

29 EXT. GRAVESIDE - DAY (LATE AFTERNOON) 29

As a soloist finishes the last notes of "Ave Maria."  The
PRIEST invites those assembled to stand.  All do except
for Alan Branch in his wheelchair.  He is ten years older 
than the photo -- now frail but with the same eyes.  His
BODYGUARDS stand on either side.

We see Rath move into position across the grave from 
Branch.  Rath removes a piece of white tape from his cast, 
eposes a barrel opening.

The Priest raises his hands, all heads bow.  Branch's.  
Rath's -- though his eyes stay on his mark.

				PRIEST
		I am the resurrection and the life, saith the Lord.

As the Priest continues, Rath twists his body slightly,
taking aim with the .22 which must be inside the cast.
He's got a clean shot at the back of Branch's head.

				PRIEST
		shall not die, but have
		everlasting life.

Rath's about to squeeze the trigger...

				PRIEST
		Amen...

Water pelts as sprinklers surge to life on all sides of
the service area.  Bad timing.  Or is it?  All heads turn.
Several people move to get away from the spray.

30 EXT. GRAVESTONE - DAY 30

It is Bain sighting along the barrel of his silenced
rifle.

31 TELESCOPIC POV OF BRANCH 31

in his wheelchair.  TIGHT ON a spot above his heart.

32 BACK TO GRAVESITE K32

Rath spins back to look toward Branch.  The old man's 
head is still bowed in prayer.  Or is it.  Crimson 
spreads out across his white shirt.  He's been shot 
through the heart.  As one of the Bodyguards realizes...

				BODYGUARD
		He's been shot!

The crowd panics -- people running everywhere.  Rath 
spots a young caretaker.  Wearing coveralls.  Nonchalantly 
heading off beyond a mausoleum, wheeling a trash can full 
of leaves.  It's Bain.

Rath turns his body to aim.  In all the confusion, no
one notices a .22 shell.

BAIN 

Reacts as a BULLET drills the trash can.  Pulling a 
sniper's rifle from the can, he runs, dives as another 
BULLET RICOCHETS off the tombstone just in front of him.h)0*0*0*
BODYGUARDS 

All this has attracted their attention.  Drawing guns, 
they charge after Bain.  He comes up FIRING silently.  
The Bodyguards go down.  But now police are on the way.

BAIN

Stands and tries to run.  Again, he's pinned down as TWO
BULLETS blossom granite around him.  He scans the crowd,
has no idea who's shooting at him.

33 CEMETERY  33

And a small army of POLICEMEN are advancing, service
revolvers everywhere.

				POLICEMAN
		Drop it!  Now!

Bain makes one last attempt to move.  A BULLET nearly
takes off his ear.  Making a strategic decision, he 
tosses out his rifle and waits for the cops.  In an 
instant, they've surrounded him.  They pin him to the
ground -- find his .22 pistol and handcuff him.

RATH

He sidesteps for a clear shot; Police are everywhere.

				RATH
		Move, you sonuvabitch.  Give me a
		line.  Goddamnit, get out of the
		way.

Cursing again under his breath, he won't take the chance 
of hitting a cop.

BAIN

As they hustle him along, he ducks and weaves, perfectly
aware of how to take advantage of his human shield.  For
an instant, he sees a man.  Fifty yards away.  
Silhouetted by the low sun.  Watching.  Bain squints
against the light, can't make him out, but knows it's
Rath.  He ducks.

34 CEMETERY 34

Far ahead Rath sees Bain being frisked against a police
cruiser.  The cops handcuff him, shove him in the back.
His rifle goes in the front.  

In a moment the cruiser rolls out, led by a second.

Rath hurries across the cemetery, headed for...

35 EXT. CEMETERY - UPPER ROADWAY 35

Rath climbs into his rent-a-car.  He releases two Velcro
strips and the cast neatly separates -- revealing his
silenced .22 held comfortably in his hand.  He slaps in
a new clip and ROARS forward.

36 EXT. INTERSECTION - LATE DAY 36

Rath eyeballs the street.  Crowded with people and cars.
The police cruisers are gone.

37 INT. RENT-A-CAR - MOVING - LATE DAY 37

Rath continues, reaches under the seat for a portable
police band RADIO.  He switches it ON.  Garbage until:

				COP #1 (V.O.)
		This is twenty-three.  Proceeding 
		to 7th with suspect in custody.  Over.

As the DISPATCHER ROGERS they got the message, Rath
spins the wheel, hangs a right to try and catch up.

38 EXT. STREET - LATE DAY 38

Two police cars race by.  Bain is in the back seat of
the second one.

39INT. POLICE CRUISER - STREETS - LATE DAY  

Bain sits in the back seat.  Handcuffed.  Separated from 
the two cops up front by a steel mesh screen.  The 
sniper's rifle is in the front seat.

The second cruiser is up ahead, leading the way.  As 
city blocks whizz past, Bain stares back over his 
shoulder.  The street is empty behind them. 

Bain stares ahead.  Silent.  Behind his back, he grips his 
left hand with his right thumb.  Slowly, he pulls his left 
thumb out of its socket.  The digit folds unnaturally into 
his palm, as Bain slides the cuff over his hand.

40 INT. RENT-A-CAR - LATE DAY 40

Rath turns onto Victoria.  No police cruiser in sight.
Rath turns west, GUNS it.

41INT. POLICE CRUISER - STREETS - LATE DAY

Speeding along.  COP #1 looks back at Bain who stares
out the side window.

As Cop #1 looks ahead -- BOOM!  Bain rears back with both 
feet and kicks out the side window.

Before either Cop can even react, Bain reaches through 
the rear side window and through the driver's side
window.  As he wrenches back on Cop #2's neck...

42 EXT. STREET - LATE DAY 42

The CRUISER SKIDS out of control.  It slams into a row of 
parked cars, straightens for an instant before it cart-
wheels end over end, lands on its roof.

The second cruiser starts to break as they realize 
what's happened behind them. 

A silent moment before Bain pulls himself out the side 
window of the wreck.  He has blood trickling from his
hairline.

Bain reaches into the cruiser for his rifle.  Cops #1 and 
#2 hang upside-down in their seats.  Cop #2's neck is 
twisted -- broken.  Groggy, Cop #1 is still alive.

Bain lies flat on his stomach, aims back through the 
window at Cruiser Two which has turned and is speeding 
back the other way.

43 INT. CRUISER TWO 43

COP #3 is on the radio as cop #4 drives. 

				COP #3
		Officers down.  We need an aid
		car, now, twenty-seven hundred
		block.  Victoria Ave.
		
44 INT. RENT-A-CAR - MOVING - LATE DAY 44

Rath has the calls, hangs a right. 

45 INT. CRUISER TWO - MOVING - LATE DAY 45

				COP #3
		Request backup and ambulance to...

Suddenly the WINDSHIELD SPIDERWEBS and Cop #3 is hit in 
the chest.

46 INT. CRUISER ONE - UPSIDE DOWN - LATE DAY 46

Bain FIRES again.

47 INT. CRUISER TWO - MOVING - LATE DAY 47

The other side of the WINDSHIELD SPIDERWEBS.  Cop #4 is
hit.

48 INT. CRUISER ONE - UPSIDE DOWN - LATE DAY 48

Upside down Cop #1 twists a desperate look back at Bain.

				COP #1
		Don't shoot me.  Please. 

			 	BAIN
			(agreeable)
		Okay.

Bain rolls clear as Cruiser Two slams into and through 
Cruiser One.

49 EXT. WRECKAGE - LATE DAY 49

Bain looks at the wreckage for a beat and disappears
between two buildings -- the rifle at his side.

50 INT. RENT-A-CAR - SUNSET 50

Rath slows as he nears the wreckage.  Bain is nowhere in 
sight.  Rath stops.  Holding his .22, Rath leans low 
out of the sedan for a quick look.  Four dead cops, but 
no Bain.  Just a discarded pair of coveralls on the 
sidewalk. 

Rath scans the deserted streets.  It's a little spooky.
Then, a shadow moving.  Across the street. 
50A EXT. STREET - SUNSET 50A

Rath gets out of his rent-a-car, .22 in hand.  As we hear
a DISTANT SIREN, Rath crosses to a chainlink fence, peers
through.

Our hearts are in our throats as, without warning, a big
watch dog lunges at the fence.

But Rath is unphased.  He gets back in his car, continues
driving and scanning for any sign of life.  

51EXT. STREETS - SUNSET  51

He hangs a left, coasts, then hangs a right.  A block
ahead, a yellow cab waits at a red light.  Rath looks a
little more determined as it gives him an idea.  A police
car races by.

52 INT./EXT. YELLOW CAB/INTERSECTION - NIGHT 52

The DRIVER's eyes look to the rearview as headlights
loom.  He winces as his cab is bumped from behind.
53 EXT. INTERSECTION - NIGHT 53

Rath gets out of the sedan and the Driver out of the cab.
As they converge on the bumper...

				DRIVER
		There better not even be a scratch,
		you dumb sonuva --

Before the Driver can finish his point, Rath knocks him
cold with a short, powerful punch.  He catches the man,
drags him over to the safety of the sidewalk.

Rath relieves the Driver of his cap, sticks two hundred
bucks in his hand and hops into the cab.  The light
turns green and he's off.

54 INT. YELLOW CAB - NIGHT 54

Cap on, Rath is behind the wheel.  He turns up the CB, 
hoping to get lucky.  CALLS CRACKLE, then... 

				DISPATCH (V.O.)
		Who's near Adams and Nine?  I got 
		a fare going to the airport.
		Rath picks up the mic, pulls the Driver ID from the 
		dash, checks the cab's ID number.

				RATH
		This is 501.  I got it.

Rath clicks off, shoves the ID under the seat.  Sticking
the .22 down between his legs, he rolls.

55 EXT. ADAMS AND NINE - NIGHT 55

An empty payphone on the corner.  Not a soul in sight.
The Yellow CAB pulls up, IDLES at the curb.

56 INT. YELLOW CAB - NIGHT 56

Rath holds the .22 with one hand, the door handle with
the other.  Tense as a tiger ready to spring.

A couple exit from a dingy bar across the street.  Rath
looks over, frowns as they start toward him.

In that instant, the opposite passenger door opens and
someone gets in the back.  As the door slams shut, Rath
checks the rearview mirror.

It's Bain.  He carries his rifle wrapped in his jacket.
For the first time we realize that the front and back of
the cab are separated by bullet-proof glass.

An awkward silence as Rath slides the .22 back between
his legs.  Bain looks at his eyes in the rearview.  (Bain
never really saw him at the cemetery.)

				BAIN
		Is there a problem?
		
				RATH
			(cool as can be)
		The airport, right?
		
				BAIN
		Right.
		
				RATH
		No problem.

57EXT. INTERSECTION - NIGHT 	 	A  F(#(#K57

As the Yellow Cab pulls away, we get the distinct feeling
this is going to be no ordinary cab ride.
58 INT. YELLOW CAB - NIGHT 58

Rath studies Bain in the rearview.  Bain stares out the
side window, chuckling to himself, a thin trickle of
blood on his temple.

				RATH
		You're cut.

Bain touches the blood, looks at it a bit surprised.

				BAIN
			(smiles)
		I had an accident at work.
		
				RATH
		What kind of work?
		
				BAIN
		Look, I'm, how do you say?  Dead tired.  
		Save the chitchat for someone else.  

Rath nods.  Bain stares out the window.  Rath continues
studying him.

CUT AHEAD TO:

59 EXT. AIRPORT NEIGHBORHOOD - NIGHT 59

The Yellow Cab rolls through the intersection.  An 
airport exit is coming up.

60 INT. YELLOW CAB - ROLLING - NIGHT 60

The cab passes the airport turn-off.  Bain sits up.

				BAIN
		What're you doing?

				RATH
		What?

				BAIN
		That was the turn-off for the
		airport back there.

		RATH
		Sorry.

		BAIN
		Yeah, well, you just blew your tip, pal.

		RATH
		You think I'm running you up?

		BAIN
		Just do your job.

61 EXT. CURB - SOCCER FIELD - NIGHT 61

Rath pulls to the curb, lurches to a stop.  On an 
adjacent field, a soccer match in progress.
62 INT. CAB - STOPPED - NIGHT 62

Rath slaps the cab in park, looks over his shoulder at
Bain.  Only we see Rath grip the .22.

				RATH
		Get out.
		
				BAIN
		What?
		
				RATH
		You think I'm running you up?
		Get out.
		
				BAIN
		You can't --
		
				RATH
		The hell I can't!  Get out!

Bain almost finds it funny.  He opens the door to get
out.  Rath faces forward.  He'll shoot him when he does.

				BAIN
		I don't believe this.

Bain has one leg out when he looks back, sees the ID is
missing from the dash.  An odd beat as Bain wonders.

Bain looks to Rath's eyes in the rearview.  It's now all
the confirmation he needs.

				BAIN
		Cojones de Dios.  Robert Rath.

The cab rocks as both men draw their guns.  Bain is
poised at the door; Rath leans back across the front
seat.  They draw down on each other despite the glass. 
Bain looks like he'll make a run for it, but then...

				BAIN
		I get out, pow, you got me.

Bain pulls the door closed, smiles.

				BAIN
		Now what?

				RATH
		Who are you?
		
				BAIN
		Cono.  Robert Rath wants to know 
		me.
		
Bain leans back, a big moment for him. 

				BAIN
		Bain.  Miguel Bain.
			(laughs)
 	 	I don't believe this.  You rolled
 	 	some cabbie, then waited for the
 	 	right call.  That's genius, man.
 	 	Genius.
 	 		(really impressed)
 	 	And then you got the balls to sit
 	 	there and bullshit with me.  No
 	 	way I could've done that.
 	 	
				RATH
 	 	You stole my contract.  How did
 	 	you know?

Bain admires Rath's gun.  What begins to show through is 
that in a twisted way, Rath is Bain's hero.

 	 		BAIN
 	 	A silenced Smith Wesson .22.  
 	 	Classic.  I switched when I heard
 	 	that's what you used.
 	 		(re: rifle)
 	 	Excuse this.  It was a long shot.
 	 	
 	 		RATH
		Who contracted you?
 	 	
Bain looks across to where the kids play soccer.  Co-ed.
As Bain rolls down his window...

63 EXT. SOCCER FIELD - BAINS POV OF GAME - NIGHT 63
64 BACK TO CAB 64

 	 		BAIN
 	 	Why don't you drive?  We can get 
 	 	acquainted.  Chitchat.
 	 	
 	 		RATH
 	 	We'll sit.

Rath sees the kids, too as Bain levels the sniper's rifle.

65 EXT. SOCCER FIELD - NIGHT 65

The SOCCER BALL EXPLODES in mid-air as Bain FIRES.  The
kids stand confused.  The silencer muffled the report.

66 INT. YELLOW CAB - PARKED - NIGHT 66

Bain smiles at Rath.

 	 		BAIN
 	 	Drive.
 	 		(aims again)
 	 	Number thirteen looks tired.  Maybe
 	 	she needs a rest.

Bain's finger curls around the trigger as he follows a
girl down the field.

67 EXT. SOCCER FIELD - LONG LENS POV - NIGHT 67
of girl playing.

68INT. YELLOW CAB 68

 	 		BAIN
 	 	Help me out, Rath.  A moving
 	 	target.  That's the front sight,
 	 	right?

69EXT. CURB -  SOCCER FIELD - NIGHT 69

Rath throws it into drive and starts away.

70INT. CAB - MOVING ACROSS BRIDGE - NIGHT 70

Bain smiles.

 	 		BAIN
 	 	Protect the innocent.  That's weak.
 	 	You could've had me in the 
 	 	cemetery, but you couldn't shoot 
 	 	the cops.  You're Antiquado.
 	 	
				RATH
		And you've got a lot to learn.
 	 	
THWUMP!  Rath looks back to where a slug is imbedded in 
the glass.  Bain coughs as the rifle smoke clears.

				BAIN
 	 	I had to try.  I mean, who knows?

71 EXT. CAB - STREET - BRIDGE - NIGHT 71

Two POLICE CARS SCREAM by going the other way.

72 INT. CAB - MOVING - NIGHT 72

 	 			BAIN
 	 	They look pissed, huh?
 	 	
 	 			RATH
		I wouldn't be surprised.
 	 	
 	 			BAIN
 	 	How'd you like the cemetery?  Rome.
 	 	14 BC.  They killed a General,
 	 	Flavius, at his brother's funeral.
 	 	But I couldn't wait for Branch's
 	 	brother to die.  So I killed him,
 	 	too.  Proud of me?

Although he's actually impressed, Rath doesn't answer.
He's too busy trying to figure a way to take Bain out.

 	 			BAIN
 	 	I killed a guy in his bathtub
 	 	once.  Was a bitch, but I wanted
 	 	to do him like they did Marat...
 	 	You know, the French Revolution?

Rath just stares grimly ahead.  Bain's a bit disappointed.
After a beat.

 	 			BAIN
 	 	It was nice meeting you, Rath.
 	 	Someday, I'll tell my little
 	 	nietos about this.

Moving like lightning, Bain slides, reaches the RIFLE
through the right rear passenger window and FIRES.

The first SHOT BLOWS OUT the passenger WINDOW.  As Bain
moves the rifle in for a better shot, Rath jerks the 
wheel hard left.  Off balance, Bain's second SHOT drills
the roof at Rath's head.

73 EXT. CITY STREET - NIGHT 73

Rath jerks the wheel, sends the cab sliding across the 
yellow lines.  A HORN BLARES as he hurtles toward an
oncoming car and a head-on collision!

Bain FIRES a wild third shot -- the windshield spiderwebs.

Rath cuts hard back across the yellow lines.  The cab 
slides, slams into the side of a bus traveling the same
direction.

As Bain FIRES again, Rath slams the cab against the side
of the bus, smack into an "I am the NRA" placard.  The
rifle is ripped from Bain's hands.

The cab bounces off, continues on.  The rifle is crushed
under bus wheels.  Bain's lucky to still have his arm.

74 INT. YELLOW CAB - NIGHT 74

The bus continues, Rath slams on the brakes.  Bain bangs
into the glass as the cab shudders to a stop.

75 EXT. CAB - STOPPED - NIGHT 75

Rath is getting out of the cab, .22 at the ready.  Bain's
got about three seconds to live and knows it.

Several blocks away a POLICE CAR -- LIGHTS FLASHING -- 
races towards them.

SIRENS WAIL.  Gritting his teeth, Rath gets back behind
the wheel.  A huge grin from Bain as he looks back at the
police car that's bearing down on them.  Rath throws it
in gear, flips a U-turn and races off.

76 INT. CAB - ACCELERATING - NIGHT 76

 	 	BAIN
 	 	You and me.  We're teammates!
 	 	Companeros!
 	 	
Rath speeds up.  Faster and faster.  Bain suddenly 
doesn't feel so safe, beat.  As Bain buckles his 
seatbelt...

77 INT. POLICE CAR - NIGHT 77

Where one of the OFFICERS is on the radio.

 	 	OFFICER
 	 	... in pursuit of yellow cab, 
 	 	number 5-0-1, reported stolen 
 	 	near same twenty as officers
 	 	down.  Proceeding west on...

78 EXT. POLICE HELIPAD - NIGHT 78

Two police officers race to waiting HELICOPTER.  As it
LIFTS OFF towards the skyline of the city.  We LIFT OFF
net to it, RISING and SWINGING WITH it as it turns 
towards the city skyline.

 79 EXT. CITY STREETS - CHASE - NIGHT79

The cab at 60.  The cop car stays with.  A hard braking 
left and then a sliding turn and the cab is nearing a 
street running under a viaduct.

80INT. YELLOW CAB - CHASE - NIGHT80

Bain smiles as they leave the cop behind.

Ahead, a second cop car turns off a side street and heads
right at them.  Rath turns under a viaduct.

 	 	BAIN
 	 	Can you feel it, Rath?!  It's
 	 	real!  We're alive!
 	 	
 	 	RATH
 	 	Don't count on it.
 	 	
 	 	BAIN
 	 	Before I went freelance, I was
 	 	an exchange student.
 	 	(smiles)
 	 	C.I.A. University.  You were a
 	 	legend at Langley.  Even if you
 	 	were Army.
 	 	(looks ahead)
 	 	I know this neighborhood.  Turn in here.

Rath turns under a viaduct.

81 EXT. ROAD UNDER VIADUCT - NIGHT81

It's a race with the two police cars right behind.

82 INT. YELLOW CAB UNDER VIADUCT - CHASE - NIGHT 82

Down the straightaway, two sets of cop lights and SIRENS (#(#K
behind them.  Bain leans forward, right behind Rath.

 	 			BAIN
 	 	I studied everything you ever
 	 	did, Rath.  God damn you were
 	 	good.  You and the Russian.
 	 	Nicolai Talinkov --

The name hits Rath like a hammer.

 	 			RATH
 	 	Tachlinkov.  How did you know
 	 	about Nicolai?

Rath turns, nearly broadsiding a train car.

 	 			BAIN
 	 	They said he shaded you.  Over
 	 	and over.  And in the end, he
 	 	aced you.  Shaded and faded.
 	 	They say he's living on some
 	 	Greek island, but I say you
 	 	were the best.  I say Nicolai's
 	 	dead as a clavo.
 	 	(thinks; smiles)
 	 	A doornail.  Am I right?

Rath doesn't answer.

 	 	BAIN
	 	I heard you guys played chess.
 	 	Coded in the New York Times
 	 	obituaries.

Rath's past is chasing him almost as hard as the cops.

 	 	BAIN
 	 	Ten miles of microfilm, but I
 	 	found it.  The last game ends
 	 	before anyone wins.
 	 		(smiles)
 	 	He thought you were his friend.
 	 	That's how you got him, right?

83 EXT. INTERSECTION - VIADUCT - NIGHT 83

Rath starts to answer when... Suddenly an enormous truck
appears, blocking their path.  Rath is forced to brake.
He whips the wheel around, powerslides a grinding U-turn 
in front of the truck.

 	 	BAIN
 	 	Hey, Rath.
 	 	(opens door)
 	 	Black queen to king's bishop 4!

Bain throws himself out of the door.  Rath whips a look
over his shoulder as Bain tumbles head over heels toward
the truck.  What he said means something, but no time to
explain now.  As he continues...
 	 	

84 BACK TO BAIN 84

Pushing himself to his hands and knees, Bain watches the
two cars disappear.  He disappears into the darkness.

85 EXT. INTERSECTION - VIADUCT - NIGHT 85

The cab races away from the intersection with the police
cars in pursuit.

86 INT. YELLOW CAB - NIGHT  86

Rath takes another hard turn.  But suddenly the cab is
bleached white by a searchlight.

87 INT. POLICE HELICOPTER - NIGHT 87

Where a HELI-COP trains the light on the cab below. 

 	 	HELI-COP
 	 	We got you now, rabbit. 

88 EXT. SKY - AERIAL - NIGHT-88

From above the chopper blades of the police helicopter
chasing the cab below -- we see the cab appearing, dis-
appearing, and reappearing from underneath a viaduct 
below.
The cab passes under an overpass.  They lose sight of it,
but it'll only be for a moment as they move up and 
around.

89 EXT. CAB YARD - NIGHT 89

The cab appears from around a corner sliding quickly into
a parking lot.  Rath slips out the door and disappears.

90 EXT. CAB YARD - AERIAL - NIGHT 90

Down below we see a parking lot full of cabs and the
first police car to arrive.

91 EXT. PARKING LOT - NIGHT 91

The other cop cars pull up.  As the police begin to 
search, and the helicopter hovers overhead, we follow
the beam of the Zenon light up to the chopper where
everything becomes white...

 	 	DISSOLVE TO:

92 INT. HOTEL ROOM - NIGHT 92

The white of Rath's computer screen.

Rath types, calls up a file.  A chess game sets up in
four neat rows.  A line reads:  Game Started May 5, 1980.
The pieces move, accompanied by COMPUTER VOICE notation 
of the move and the date they were made.  Rath studies
the screen.

 	 	RATH
 	 	Fifteen years and I still 
 	 	remember.
 	 	(watches)
 	 	Those were good moves, Nicolai. 
 	 	You were the best. 
 	 	
The screen and the computer voice both ask:  ENTER NEXT
MOVE.  A beat before Rath types in the move Bain gave
him.

 	 	RATH
 	 	Bishop takes rook pawn. 

A big moment as the computer moves:  Bishop takes rook
pawn.  A beat and the screen starts to flash:  CHECK. CHECK.  CHECK.  
Rath can't believe what he's seeing. 

 	 	COMPUTER VOICE (V.O.)
 	 	Game in check. 
 	 	
 	 	RATH
 	 	(softly)
 	 	I'm a mark.  A mark... Who the hell
 	 	is Miguel Bain?

A pause.  Rath finally clears the screen, types the 
access code, waits.  As the system comes on line. 

Contractor: Hello, Robert. 

Rath:  Who the hell is Miguel Bain?

Contractor: That's no way to talk to a lady.

Rath: Who???

Contractor: The name Bain is not familiar. 

 	 	RATH
 	 	Are you setting me up?
 	 	(a beat)
 	 	Is this how it went, Nicolai?

Rath: He was there.  He stole the contract.

Contractor: I'll make inquiries, Robert.

 	 	RATH
 	 	I bet you will.

Contractor:$2,000,000.  That's the bonus on the
 	 	next contract.

 	 	RATH
 	 	I quit.  I'm gone. 
 	 	
Rath moves to shut down the rig, but then hesitates.

Contractor: Robert?  Are you there?

				RATH
	 	Two million.  Two million and I'm
	 	gone.
 	 	
Rath: Location?

Contractor: Seattle.

Rath: The mark?

Contractor: Surveillance epert.  Selling a synthetic heroin formula to a Dutch buyer.

A beat as Rath thinks things over.  Then...

Rath: Conditions?

Contractor: Retire the mark, retire the buyer and retrieve the information.  A computer disc.
 	 	
Rath watches as miniaturized pages flash on his screen.
Many of an angular-faced Dutch man.  His henchmen.  A 
complete file, except...

Rath: The surveillance jacket on the seller?

Contractor: A ghost.  All we have is an internet logo.

The transmit prompts again.  The screen goes black except
for two green, slit-iris cat eyes.  Under that, 
MEOW@comsat.next.  And as we move in on the eyes:

 	 	MATCH CUT TO:

93 INT. ELECTRA'S APT. - ELECTRA'S KITCHEN - PEARL - DAY 93

A live cat with the same eyes.  She watches as a kid's
remote control dump truck whirs past her.  In the truck
bed, a bowl of tuna fish.  Pearl chases.  Her pride stops
her.  She waits, pounces as the truck backs up.  Pearl
wins.  As she eats...

Electra sets down a remote control, kneels to watch Pearl
eat.  A surveillance genius, an "information assassin,"
Electra depends on smarts and intuition to succeed in a
dangerous world.  Like most geniuses, she's a free 
spirit.

 	 	ELECTRA
 	 	Mmmm.  Hungry Pearl.

Electra steps over to check on the progress of a coffee
machine.  Almost done.

As she waits, she flips through a packet from "One Hour
Photo."  All photos of Pearl.  Electra stops to study
one.

 	 	ELECTRA
 	 		(shows Pearl)
 	 	I like this one, baby.  It's your
 	 	good side.

She pours coffee, takes a sip, sighs with satisfaction.

93A EXT. ELECTRA'S APARTMENT BUILDING - DAY 93A

At the base of three massive transmit towers.  Two
stories, eight apartments.  We see Electra enter her
second floor living room.  In the apartment directly
below we see a young couple (JENNIFER & BOB) fighting.

94 INT. ELECTRA'S APARTMENT - LIVING ROOM - DAY 94

Like the control booth of a low-rent nextwork television 
show.  TV's of various size, make and quality are stacked 
and set in a semi-circle around an overstuffed chair.  

Electrical cables and bundles of fiber optical cable are
duct-taped to the walls.  Some disappear through holes
punched in the floor, others the ceiling.  They hang like
vines in a jungle.

Electra settles into her chair.  Flicks a remote.  The
CD PLAYER KICKS IN SOME MUSIC.  The first two TVs show
empty apartments.  A third -- an old woman rolling out 
dough.  The view is wide-angle, from above.  Just like 
a cooking show.

 	 	ELECTRA
 	 	Yummy.

Electra switches on another TV.  Jennifer and Bob's
argument.

 	 	BOB (V.O.)
 	 	(TV)
 	 	I don't give a shit what your
 	 	mother thinks.  I'm not sleeping 
 	 	with your mother; I'm sleeping 
  	 	with you.
 	 	
 	 	JENNIFER (V.O.)
 	 	(TV)
 	 	You won't be for long with that
 	 	attitude.

Electra turns UP the VOLUME, leans forward as the drama
'unfolds.

 	 	BOB (V.O.)
 	 		(TV)
 	 	Jesus, Jennifer, if you're so god
 	 	damned worried about your mother's
 	 	approval, why don't you move back
 	 	home so she can pat you on the
  	 	head when you do something right.
 	 	
 	 	ELECTRA
 	 	Jerk.

Electra's PAGER SOUNDS.  She barely looks at it.

Jennifer starts to say something, but stops, trying to
 	keep herself from crying.

 	 	BOB (V.O.)
 	 	(TV)
 	 	Oh good.  Go ahead and cry.

Jennifer exits the room, slams the door hard behind her.

 	 	BOB (V.O.)
 	 	(TV)
 	 	You like to slam doors? 	 	

Electra switches one of the sets to a shot of Jennifer
crying in her bedroom.	 	

 	 	BOB (V.O.)
 	 	(TV)
 	 	I can slam doors too! 	 	

Bob exits the apartment, slamming the door on his way
out.  Electra switches all the TVs to shots of Jennifer.
She watches, listens to her cry.

Affected, Electra reaches out, her fingers lightly
 touching the screen.  She isn't simply a voyeur.  She
cares about these people's lives.  As her PAGER SOUNDS
again...

95  OMITTED 	 95
thru 	 	 	 thru
98				  98

99 TELEPHONE TABLE 99

A system like Rath's.  Electra picks up a cellular, dials.  
As a woman's voice answers, Electra clicks a stopwatch.

 	 	WOMAN (V.O.)
 	 	Room one-fifteen.
		Slipping a filter over the mouthpiece, Electra responds
		in a deep baritone.

 	 	ELECTRA
 	 	I have the merchandise.  
 	 	(or alternate)  
 	 	I have the disc.

She picks up a computer disc, holds it at arm's length.

 	 	WOMAN (V.O.)
 	 	The buyers arrive at noon.  
 	 	Flight 10-55.

Electra covers the receiver, thinks things through.

 	 	ELECTRA
 	 	Off the plane.  Customs.  
 	 	They're Dutch... A half hour.

She twists the filter to the high pitch of a child.

 	 	ELECTRA
 	 	I'll attempt contact at 12:30 and
 	 	every fifteen minutes after that.
 	 	
 	 	WOMAN (V.O.)
 	 	You have the hard copy images?
 	 	
Electra reviews photos of the Dutch, similar but not the
same as Rath's. 

 	 	ELECTRA
 	 	Affirmative.  What do I call the 
 	 	principal?
 	 	
Electra checks the stopwatch.  Forty-eight seconds...

 	 	WOMAN (V.O.)
 	 	Call him Remy.  How will they 
 	 	know --

Electra hangs up, sticks the disc in her pocket.

 	 	ELECTRA
 	 	They'll know.

100 OMITTED 100

100A EXT. ELECTRA'S APARTMENT - DAY 100A

Electra comes out carrying Pearl's porta pet and a 
shoulder-slung duffel bag.  She puts them in the back ofh)#0*0*0*her Mustang convertible.  Hopping in, Electra pulls out
of a parking spot identified with her apartment number.

101EXT. THE HYATT - DAY 101

It has a big day ahead of it.  Electra's car drives past
the main entrance and she turns into the parking garage
entrance.

102 INT. PARKING GARAGE 102

Electra pulls into a spot up front, hands the attendant
$20.  

 	 	ELECTRA
		Keep it handy.

He nods.  Sunglasses on, carrying her duffel bag and 
porta pet, Electra heads for a bank of elevators.  She 
steps in.

103 INT. HYATT - ELEVATOR - LOBBY LEVEL - DAY 103

From inside, the doors open at the lobby level.  A man
and a woman with a white fur coat step inside.

Backed in a corner, Electra stares at a veritable wall
of fur.  She doesn't like it.  Setting down the port-a-
pet, she reaches into her duffel for what looks like a
canister of breath spray.

104 INT. UPPER FLOOR - HALLWAY - DAY 104

The elevator doors open.  None the wiser, the couple
step out.  As they walk down the hallway away from us
we see a large circle with a slash through it on the
back of the fur coat.  As the doors close we hear.

 	 	ELECTRA (V.O.)
 	 	You're welcome, Pearl.

105 INT. AIRPORT - INTERNATIONAL TERMINAL - DAY 105

We hear a SCREAMING JET OVERHEAD.    

Four Dutch men exit the jetway.  They look like lions 
in leather jackets.  They move predatorially, REMY 
recognizable from Rath's computer info.

INT. THE HYATT - ROOM 718 - DAY 106

A laptop computer, a transmitter and a remote intercom
rest on the coffee table.  On the computer, Electra
scrolls through airline flight information.  She finds
KLM flight 1055.  The screen flashes:  Arrived.

107INT. UNITED TERMINAL - ESCALATOR - DAY 107

Looking past a digital clock we see the Dutch ride
down the escalator, jumpy.

 	 	INTERCOM (V.O.)
 	 	Mr. Remy, to the white courtesy
 	 	phone.  Mr. Remy.

Remy looks to his #2.  Suddenly, the four of them pound
down the escalator steps, snaking between people, push-
ing others out of the way.

108 WHITE COURTESY PHONE 108

Remy picks up the receiver.  His men fan out, ready for
trouble.

 	 	REMY
 	 	Hello?
 	 	
 	 	ELECTRA (V.O.)
 	 	Are you ready to go shopping on
 	 	the Home Information nextwork?
 	 	The price is $40,000.
 	 	
 	 	REMY
 	 	Where are you?
 	 	
 	 	ELECTRA (V.O.)
 	 	Are you ready?  Yes or no?
 	 	
 	 	REMY
 	 	Yes.

109 INT. THE HYATT - ROOM 718 - DAY  109

Electra's on a cell phone.

 	 	ELECTRA
 	 	There's a payphone bank in the
 	 	Hyatt Hotel by the elevators.
 	 	You got twenty minutes.

She hangs up, clicks her stopwatch.

110 INT. UNITED TERMINAL - DAY 	 	A  110

Remy hangs up, motions to his men to follow.  As the
Dutch move away, we RACK FOCUS back to a man in the
b.g.

It's Rath.  Looking absolutely non-descript.  He waits
till they're almost out of sight before following.  Rath
scans faces as he moves.  Someone else may be here as
well.

111 UNITED TERMINAL EXIT 111

The Dutch exit.  Rath's about to follow when he spots a
young man turning away to a cash machine.  Bain?

Drawing the .22, Rath closes the gap, spins him.  The
young man, holding his cash, turns into the barrel.  
It's not Bain and in an instant the gun is gone.  Rath
is shaken, but nearly as much as the young man.  Rath
moves on.

112 EXT. AIRPORT ROADWAY - DAY 112

Remy and his men get into a waiting limo.  It pulls
away.

Rath exits, hops into a cab before it can even coast to
a stop.  They pull away as well.

113 INT. CAB - DAY 113

CLOSEUP of the time on the meter.

114 INT. THE HYATT - ROOM 718 - DAY  114

Pearl watches as Electra unscrews an A/C panel.  Popping
the screen to reveal a vertical duct, Electra tapes a
piece of cardboard at an angle inside it.  The effect is
to redirect into the room anything traveling down.

115 INT. LIMO - ROLLING - DAY 115

The Dutch open waiting briefcases, check out the 
silenced 9 MM's waiting inside.

116 INT. THE HYATT - ROOM 718 - DAY  116

Electra at the window, looking down through binoculars.

117 ELECTRA'S POV - BINOCULAR MATTE  117

The Dutch heading from their limo for the hotel.

 	 	ELECTRA
 	 	One, two, three, four.

118INT. HYATT LOBBY -  DAY 118

Looking toward the entrance as the Dutch stride in.  As
a PHONE begins to RING, Remy hurries to a...

119 PAYPHONE BANK 119

Answers it.

 	 	REMY
 	 	Hello.
 	 	
 	 	ELECTRA (V.O.)
 	 	Pick up the Yellow Pages.

He does as he's told.

 	 	ELECTRA (V.O.)
 	 	Lonely?  In town on business.  
 	 	Who'll ever know if you check out 
 	 	the escorts?
 	 	
As Remy flips to the "Es"...

120 INT. HOTEL ENTRANCE - DAY 120

Rath steps in, heads for the front desk, but watches.

121 INT. HOTEL - PAYPHONES - DAY121

Remy's found it.  In the escort ads, a room key card.

 	 	ELECTRA (V.O.)
 	 	It's room 942.  I want all four of
 	 	you in there.  No deal otherwise.  
 	 	And if there's more of you, I'll 
 	 	know it.  I smell a rat, I go.  
 	 	Are we simpatico?
 	 	 	
 	 	REMY
 	 	Yes.  Simpatico.

Checking about, the Dutch get in an elevator.  Rath 
doesn't have a chance without raising a red flag.

The doors close.  He thinks a beat.  As a maintenance
worker passes, something occurs to him.  Spurred to 
action, Rath moves.

122 INT. HYATT - ELEVATOR - DAY 122

Two passengers get off on three.  The ride continues.  
It's just the anxious Dutch and a man in the corner.

He looks up.  It's Bain!  

The elevator stops at nine.  As the Dutch step off, Bain
slyly slips "something" into Remy's jacket pocket.  We 
see, but we're not quite sure what.

They don't say a word, just exit as the elevator stops at
nine.  As the doors close behind them, Bain looks grim.

123 INT. HYATT HOTEL - MAINTENANCE OFFICE - DAY 123

Where a JANITOR answers a RINGING PHONE.  Beyond him,
we see a hotel computer terminal.

 	 	JANITOR
 	 	Maintenance... What?!  Sounds like
 	 	we got a short.  I'll be right
 	 	there.

The Janitor rushes out.  The office is empty.  A beat and
Rath enters.  Tucking his cell phone (he made the call)
into his pocket, he takes a seat at the terminal.  He 
must have used this trick before as he scrolls computer
info.  Room bills.  Reservations.  Guest names.  He elim-
inates the Chicago Bulls, a doctors' convention, and a
wedding party.  All 10 plus rooms.  As he continues his
process of elimination...

124 INT. HYATT HOTEL - ROOM 942 - DAY 124

On a table are a screwdriver, a laptop hooked to a cel-
lular modem and a remote intercom matching Electra's.
The Dutch enter, guns drawn.

125INT. HYATT HOTEL - ROOM 718 - DAY  12
Over the INTERCOM, Electra can hear them entering the
room, moving about.

 	 	ELECTRA
 	 	Close the door.

126INT. HYATT HOTEL - ROOM 942 - DAY  126

As one of them pulls the door shut...

127 INT. HYATT HOTEL - ROOM 718 - DAY  127

Electra can hear it bang shut.

 	 	ELECTRA
 	 	First, I need a ten thousand
 	 	dollar deposit.

 	 	REMY (V.O.)
 	 	(TV)
 	 	That wasn't the agreement.

128INT. HYATT HOTEL - ROOM 942 - DAY  128

The computer screen goes blank.

 	 	ELECTRA (V.O.)
 	 	We have nothing more to discuss.
 	 	Good-bye.
 	 	
 	 	REMY
 	 	Wait, wait.  Okay.

A beat, the screen turns back on.

 	 	ELECTRA (V.O.)
 	 	Here's today's menu.
 	 	
The screen fills with file names.  Number 2 reads, nods
his approval.  Remy inserts a blank disc.

Guns are drawn, aimed as a BEEPING sounds from the wall.
From the A/C vent. 

 	 	ELECTRA (V.O.)
 	 	I believe you'll find a screwdriver
 	 	on the table. 
 	 	
Cautiously, Number 3 picks up the screwdriver, undoes the
screen which is now backlit.  Electra's remote dump truck, 
a flashlight and pen-sized camera taped on the 
cab roof.  As the Dutch exchange a look...

129 INT. HYATT HOTEL - MAINTENANCE OFFICE - DAY    129

Rath has narrowed his search to three individuals who 
each hold two rooms apiece.  Clark, Rogers and Katz. 

Rath selects K. Katz.  Rooms 718 and 942.  He switches to
room service charges.  In two days nothing on 942 -- not
even a phone call, but...

 	 	RATH
 	 	(reading)
 	 	Room 718.  Coffee.  Coffee.  
 	 	Coffee.  Coffee.  Tuna fish.

Reaching into a pocket, he pulls out and unfolds a print-
out of the green cat eyes.  MEOW@comsat.next.

 	 	RATH
 	 	Meow.

30INT. HYATT HOTEL - ROOM 718 - DAY  130

Manipulating a joystick, Electra watches an air duct 
view pass by on a Sony Watchman.

131 INT. AIR DUCT - DAY  	 	 131

The dump truck rolls carrying a $10,000 payload.  It 
turns at one branch, turns left at another.  Ahead, a 
square hole opens up where a third branch goes vertical.

Just when we think a catastrophe will occur, the truck
stops, eecutes a DMV 3-point turn.  It backs to the edge
of the hole.  The truck bed angles back as it dumps.

132 INT. ROOM 718 132

Electra smiles as ten thousand dollars drop out of the 
vent and onto the carpet.

 	 	ELECTRA
 	 	I'm going to format your disc,
 	 	orient it to receive the data.

Electra begins typing.

133 INT. HYATT HOTEL - ROOM 942 - DAY  133

The Dutch watch a little clock tick away on the laptop 
screen as this is done.

134 EXT. 9TH FLOOR HALLWAY - DAY 134

Not far from 942, an attractive couple pause to begin 
kissing in a corner.  Overwhelmed, they can't keep their
hands off each other.

135 INT. HYATT HOTEL - ELEVATOR - DAY  135

Rath gets in, his fingers deciding between the ninth and
seventh floors.  He presses one, but we don't see which.
As he starts up.

136 INT. HYATT HOTEL - ROOM 942 - DAY 136

Remy watches as file names start to appear on the
computer screen.

137 INT. HYATT HOTEL - ROOM 718 - DAY  137

Electra continues to send information.

138 9TH FLOOR HALLWAY - DAY 138

Here comes Bain.  Resolute, but excited at what's about 
to happen.  He passes the couple.  They don't see him or 
they don't care.  But as Bain gets a few steps past...

He wheels, raises the SILENCED .22 and FIRES.  The 
couple crumple, both head shots.  He drags them into a
stairwell.

139 INT. HYATT HOTEL - ROOM 718 - DAY 139

Electra types.

140 INT. 9TH FLOOR HALLWAY - DAY 140

Bain leans over the bodies of the attractive couple.  
Amazingly, he relieves them both of silenced 9mm 
pistols.  What the hell's going on?

Bain steps to the middle of the hall.  Watching several
doors at once, he takes out a cellular phone, punches
in a number, then hits send.

141 INT. HYATT HOTEL - ROOM 942 - DAY  141

A very LOUD BEEPING sounds!  After a confused moment,
Remy reaches into his pocket, pulls out the slim BEEPER 
Bain deposited there.

They barely have time to exchange a look before the room
door blasts open and Bain enters, both the .22 and one
of the 9mm's BLAZING.

The Dutch try to return fire, but Bain has them.  As
he EMPTIES both GUNS...

142 INT. HYATT HOTEL - ROOM 718 - DAY 142

Electra looks up from her typing, listens to the odd
thwapping and grunting coming over the INTERCOM SPEAKER.
She stops typing.

43INT. ROOM 942 - DAY  	 	 143

Bain checks Remy's wallet.  Finds a badge.

 	 	BAIN
 	 	Interpol?
 	 	
Bain pauses, but then shrugs it off.  No time to worry
about it now.  He looks to the dead Dutchmen.

 	 	BAIN
 	 	No more worries.  Suena con los 
 	 	angelitos.
 	 	
 	 	ELECTRA (V.O.)
 	 	What's going on there?
 	 	
Bain spots the intercom.  Then he sees the laptop screen
flashing:  He realizes the transmission is incomplete.

 	 	ELECTRA (V.O.)
 	 	Hello?
 	 	
 	 	BAIN
 	 	Please complete the transmission.
 	 	
 	 	
144 INT. ROOM 718 - DAY 144
Electra's momentarily flustered. 

 	 	ELECTRA
 	 	(starts typing; 
 	 	 stops)
 	 	Who is this?

She hears no answer.  Electra begins erasing all of the 
information she has sent. 

145 INT. ROOM 942 - DAY 145

Bain sees the information begin to disappear line by 
line -- he frantically tries to save some of it. 

 	 	BAIN
 	 	I'm going to tear your heart out.
 	 	
 	 	
146 INT. ROOM 718 - DAY 146

Sudden fear washes over Electra.  Flipping down her sun-
glasses, she grabs her duffel bag, picks up Pearl, pulls
the disc.  But as she turns to the door...

SLAM!  It bursts open and she's staring right at a 
silenced .22.  Rath is here, quite obviously there to 
kill her.  But maybe surprised she's a woman.

 	 	ELECTRA
 	 	Don't...
 	 	
 	 	
147 ROOM 942  	 	 147

Now it's Bain's turn to listen. 

 	 	BAIN
 	 	Don't what?
 	 	(realizes)
 	 	Rath?  Is it you?
 	 	

148 ROOM 718 148

Keeping the gun on Electra, Rath looks at the intercom. 
Doesn't answer. 

149 ROOM 942 149

But Bain is sure.  He picks up the remote, switches on 
the room TV. 
 	 	BAIN
 	 	It is you...
 	 	
 	 	
150 ROOM 718 150

Gun still aimed, Rath holds out his hand, whispers...

 	 	RATH
 	 	The disc.

She fumbles, holds it out with a wildly trembling hand.
Rath takes it.

151 ROOM 942 151

Bain accesses (on TV) the hotel's in-room checkout 
system.

 	 	BAIN 
 	 	You checked out that move, didn't
 	 	you?  Black queen to king's 
 	 	bishop 4?  

 	 	
152 ROOM 718 152

Bain is getting under Rath's skin.  As his finger 
tightens, Electra is frozen in fear. 

 	 	BAIN (V.O.)
 	 	You got a move for me, Rath?

Electra tries to say something, but can't give volume to
the words.  Rath reaches over, takes off her sunglasses.
She blinks at him.  As a tear streaks her cheek...

153 ROOM 942 153

On the TV checkout, Bain has the room charge for 942 and
the fact it's coupled with the charges for room 718.

 	 	BAIN
 	 	It's like chess.  What's your move?
 	 	Is she alive?  Did you kill her?
 	 	Are you there, sweetie?
 	 	
And Bain slips silently out of the room. 

154 ROOM 718 154
 	 	BAIN (V.O.)
 	 	Is she dead yet, Rath?  I took 
 	 	care of business on my end.  
 	 	What about you?  Come on.  Pull 
 	 	the trigger.  Kill her.

Electra closes her eyes.  Rath turns his aim from her 
to the INTERCOM, FIRES.  As it bursts into a hundred 
pieces. 

155 7TH FLOOR HALLWAY 155

Bain steps out from the stairwell, silently sprints to...

156 ROOM 718 156

Bain enters with a military roll.  It only takes an 
instant to realize... Rath and Electra are gone. 

156A INT. PARKING GARAGE - DAY 156A

Electra and Rath step off the elevator.  She wears her
jacket, carries her computer and porta pet.  He holds 
her arm, keeps the gun at her side.

 	 	RATH
 	 	Where's your car?
 	 	
 	 	ELECTRA
 	 	I don't know.

The Attendent (seen earlier) steps over, eagerly points
out her Mustang.

 	 	ATTENDENT
 	 	It's right here, Miss.

As the Attendent hurries over with the keys...

				RATH
 		 I guess a black Chevy would have7   A
 		 stuck out too much.(- 
 	 	
 	 	
157 EXT. HYATT - MUSTANG CONVERTIBLE - DAY 157

The Mustang zooms out of the parking garage, bottoms 
out at the top.  Electra's behind the wheel.  Rath rides 
shotgun, watching the hotel for trouble.  Pearl in her 
porta-pet in the back.

158 EXT. STREET - MUSTANG (MOVING) - DAY 158

Electra is terrified.  We now learn she talks when she's
nervous.

 	 	ELECTRA
 	 	I always thought I was going to 
 	 	die in a bus crash.  Isn't that
 	 	dumb?  The odds are like five-hundred
 	 	million to one.  You know what the
 	 	odds of meeting a stranger who's a 
 	 	murderer?  One-thousand to one.

Holding the .22, Rath just stares at her.

 	 	ELECTRA
 	 	I think I've been worrying about
 	 	the wrong statistic.
 	 	
 	 	RATH
 	 	If I was going to kill you, you'd
 	 	be dead already.

As Electra speeds up...

159 INT. ROOM 718 - DAY 159

Bain tears the room apart.  Pulls open drawers, overturns
the mattress.  He wants that disc.  But the room has been
cleaned out.  Then he spots it.  Electra's computer 
carrying case -- in haste forgotten -- on a chair.  F

Electra's jacket -- in haste forgotten -- draped over a 
chair.

Rifling through it, he finds the photos Electra had of
Pearl.  Bain flips through them.  Nothing, but Pearl.
Inside, outside.  But Bain flips back one.   A

Pearl outside.  Bain's finger jabs down on something in
the background.  Three TV transmit towers.  Bain strides
to the window, looks out... 	 	

159A BAIN'S POV - CITY 159A

Scanning, spots it.  In the distance, three radio towers.

159B BACK TO BAIN 159B

Smiling.  He shoves the picture in a pocket, hurries out.

60INT. MUSTANG - ROLLING - DAY 	 	A 160

 	 	ELECTRA
 	 	Who the hell are you?! 	 	
 	 	
 	 	RATH
 	 	I work for the government.
 	 	
 	 	ELECTRA
 	 	Bullshit.
 	 	(turning)
 	 	Where are we going?
 	 	
 	 	RATH
 	 	Just drive.

Electra hits the gas.  The MUSTANG ZOOMS.  40, 50... 
Rath takes her laptop from the backseat.  He plugs it 
into his cellular, punches a number in.  Rath types in
the access code sequence.  The system comes on line.

Contractor: This is not a scheduled call, Robert.

60 mph... Electra begins to slalom between cars.  Rath looks up as he types.	 	

 	 	RATH
 	 	Watch your speed. 

Rath: He was there again.

Contractor: Shut down.  We'll talk at the scheduled time.

The system shuts down.  70 mph...

 	 	RATH
 	 	Slow down!
 	 	
 	 	ELECTRA
 	 	I can't.

Rath reaches over with his foot, starts to brake them.
 	 	ELECTRA
 	 	What about the other guy?  Does
 	 	he work for the government, too?

Rath just gives her a look, takes his foot off the brake.
They've slowed considerably. 	 	

 	 	ELECTRA
 	 	It's between you and him, right?
 	 	Just leave me out of it.
 	 	
 	 	RATH
  	 	We can't.  You're the mark.

A chilling thought.  Across a wide median, she sees a
bus pulling up to a bus stop.  Ahead, the light turns
red.

161 OMITTED 161

162 EXT. STREET - DAY 162

Electra moves to slow down, but at the last second she
accelerates, rear ends the car ahead.  Electra is braced,
but Rath slams the dash.

Electra takes the keys, leaps out of the car.  Grabbing
the porta-pet, she dashes across the median.  Rath is 
quickly after her. 

Electra nears the bus which is taking on the last of its
passengers.  As she looks back over her shoulder, she 
slams into a man, drops the porta-pet.

Rath is closing.  There's no time.  Acting on survival
instincts, Electra leaps onto the bus.  It's away just
as Rath arrives.

163 INT. BUS - ROLLING - DAY 163

Electra hurries to the back, stares out the window.  

In the receding distance we see Rath and the porta-pet in 
the street.  She's escaped, but at what cost?

 	 	ELECTRA
 	 	Oh, Pearl...  Sorry.

164 EXT. BUS STOP - DAY 164

As an IRATE MOTORIST shouts "car insurance," Rath ignores
him, carries Pearl back to the Mustang.  He gets inside,
checks the glove box -- nothing.  But reaching under the
seat, he pulls out a paper bag with cat food inside.  The
bag is printed:  Prize Pets.  With an address. 

165 EXT. PRIZE PETS - DAY 165
A local mom & pop operation.  As the Mustang pulls up...

166INT. PRIZE PETS - DAY 166

An OLDER WOMAN looks up as Rath approaches the counter. 
But she's not looking at Rath. 

 	 	OLDER WOMAN 
 	 	Pearl!  How are you, dearie?
 	 	Where's Mama?
 	 	
Holding the cat in his arms, Rath smiles. 

166A EXT. ELECTRA'S BUILDING - DAY 166A

Three towers in the background.  A car pulls into an
assigned spot.  "Bob" gets out, heads into the building.

167 INT. ELECTRA'S LIVING ROOM - DAY 167

Electra packs.  No rhyme or reason.  She just tosses 
stuff into her bag.  As she moves into the bedroom, we
STAY here.  The monitors are on.  Bob enters Jennifer's
apartment.

167A EXT. ELECTRA'S BUILDING - DAY 	 	A 167A

Bain steps up, smiles at the towers.  There are three
cars in the lot.  He walks along, placing a palm on the
hood.  Seeing which engine is warm.  Bob's.  Noting the
apartment number on the space, Bain heads inside.

168 INT. JENNIFER'S APARTMENT - LIVING ROOM - DAY 168

Bain enters, begins looking through the room, after the
disc.

169 OMITTED 169

170 INT. JENNIFER'S APARTMENT - BEDROOM - DAY170

Bob hears the sound, thinks the wrong thought.A

 	 	BOB
	 	Jenn?
	 	
Bob hears FOOTSTEPS coming down the hall.  As they near
he door...

 	 	BOB
  	 	I love you.

Bain is there, filling the doorway.

 	 	BAIN
 	 	That's sweet.

171 INT. ELECTRA'S LIVING ROOM - DAY  171

Bag packed, Electra steps out from the bedroom.  She 
stops short at the sight of the monitor.

Bain raises the .22, Bob's eyes widen.  As he steps back,
Bain steps forward.

 	 	BOB (V.O.)
 	 	(on TV)
 	 	Who are you?
 	 	
 	 	BAIN (V.O.)
 	 	(on TV, advancing)
 	 	You'll never know... Romeo.

Bob backs right into the walk-in closet.  Bain follows.
The SILENCER WHISPERS and BOB THUMPS to the floor.

171A JENNIFER'S BEDROOM 171A

Bain takes in the room.  Breathes it in.  Something
catches his eye.  A smoke detector on the ceiling.  He
stands on the bed.

171B BELECTRA'S LIVING ROOM 171B

Electra's mouth open, but no sound comes out as Bain's 
face suddenly looms right into the monitor.  Distorted, 
his face right in the camera.

172INT. JENNIFER'S APARTMENT - BEDROOM - DAY 172

Standing on the bed, Bain pulls the detector housing
should be.  He pokes at it.  A warped smile as he 
realizes what it is.

173INT. ELECTRA'S LIVING ROOM - DAY  173

 	 	BAIN (V.O.)
 	 	(on TV)
 	 	You sick little bitch.

Electra turns to get out, stops short at MEOW.  PEARL 
trots into the room.  Electra scoops her and Rath is 
there.  He spots Bain on the monitor, draws his .22.  She
flinches.

 	 	RATH
 	 	Where is he?

Electra points to the floor.  The screen goes to snow as
Bain reaches, yanks the smoke detector from the ceiling.

Rath grabs Electra and they're out of there.

174 EXT. MUSTANG (PARKED) - DAY 174

Up the street, the front end smashed.  Rath gets Electra 
and Pearl inside.

 	 	RATH
 	 	Wait for me at the pet shop.

She nods.

Without another word, Rath heads back.  Electra STARTS
the car.  Smoke pinwheels off the tires as she roars off.

175 INT. JENNIFER'S APARTMENT - LIVING ROOM - DAY 175

Leading with the .22, Rath enters.  Every nerve is
tingling as he steps into...

176 JENNIFER'S BEDROOM 176

Rath steps in.  No Bain.  Rath spots the plaster torn 
from the ceiling, Bob's legs visible through the closet
door.  Rath steps over.  As he kneels to take a pulse, he
hears FOOTSTEPS OVERHEAD.  In Electra's apartment.

177 INT. ELECTRA'S LIVING ROOM - DAY  177

Two discs on the coffee table.  Bain scoops them, runs
them through his scanner.  Red lights flash.  Not the 
ones he wants.  He tosses them aside.

178 EXT. NEIGHBORHOOD STREET - MUSTANG (ROLLING) - DAY  178

Electra slows for a stop sign.  Continuing, she passes
Jennifer going the other way.  Headed home.  Oh no!  
Electra looks back over her shoulder.  She makes a 
decision.

A HORN BLARES.  Electra brakes, looks ahead where she's
come inches from a head-on collision.

She throws it in reverse, nearly hits a car coming up 
from behind.  More HORNS.

Back to drive, Electra hops the curb, driving over a
circular median and knocking down a "Slow" sign as she
turns around.

179 INT. ELECTRA'S BUILDING - 2ND FLOOR HALLWAY - DAY 179

Gun drawn, Rath makes his way, enters.

180 INT. ELECTRA'S APARTMENT - LIVING ROOM - DAY    180

No Bain.  Rath moves silently toward...

181 ELECTRA'S BEDROOM 181

Bain searching the place.  Holding his .22, he picks up 
a bottle of perfume, takes a whiff, smiles.

 	 	BAIN
 	 	Jasmine...

In the dresser mirror, Bain spots Rath enter behind him. 

Dropping the perfume, Bain wheels, FIRES!

A MIRROR on the back of the door SHATTERS and Rath is 
gone.  Or at least his image.

Guessing.  Bain starts FIRING in a moving pass across
the wall.  The SILENCER makes it almost surreal.

182 LIVING ROOM 182

Rath runs, just a step ahead of the BULLETS which BURST 
from the wall behind him.  Diving, he rolls into the...

183 KITCHEN 183

Coming out of the tuck and roll, Rath slams into the 
stove, rocking it two feet across the floor.

He looks up at the gas line inches over his head.

184 LIVING ROOM 184

Slapping in a new clip, Bain leaps out, sees that Rath 
must be in the kitchen.  Bain aims, but stays where he 
is.

 	 	BAIN
 	 	You're getting slow, Abuelo.
 	 	
 	 	RATH (O.S.)
 	 	I'm not the one shooting at mirrors.
 	 	
 	 	
185INT. JENNIFER'S APARTMENT - BEDROOM - DAY 185

Home, Jennifer stops short when she sees plaster every-
where.  Looking up, she sees the cable snake up to the 
hole in Electra's floor.  Unfortunately, she doesn't see
Bob.  Furious about the mess, she hurries out of the 
room.

186 INT. ELECTRA'S LIVING ROOM - DAY 186

Where Bain is edging his way toward the kitchen.

That's when Jennifer storms in.

 	 	JENNIFER
 	 	Who the hell are you?

She stops short at the sight of Bain's .22.

 	 	BAIN
 	 	(whispers; wants)
 	 	The disc.

A frozen moment before she bolts for the door.  Bain
FIRES.  As Jennifer falls, Bain makes a critical error.

 	 	BAIN
 	 	(at kitchen)
 	 	I beat you to the buyers and now I 
 	 	beat you to the mark.  I'm starting 
 	 	to think I picked the wrong guy to 
 	 	be my hero.

187 INT. KITCHEN 187

Rath wonders who Bain shot.  Out the window, he sees
Electra pull up in the Mustang, run for the building.

188 LIVING ROOM 188

Bain waits for an answer, doesn't get one.

 	 	BAIN
 	 	You know it's my birthday today,
 	 	Rath?  It's true.  Today I become
 	 	number one.

Picking up a big shard of mirror, Bain inches his way to
the kitchen door.  It's blind; no view at all.

189 STAIRWELL 189

Electra makes her way up.

190LIVING ROOM 190

Bain tosses the MIRROR SHARD against the open kitchen 
door.  
 	 	
It BREAKS into pieces, one of them a leaner.  They give 
Bain a full view of the kitchen.  Rath isn't there.

 	 	BAIN
 	 	You got a present for me, Rath?

191 KITCHEN 191

Tense as a steel spring, Bain steps inside.  There's
another doorway in the far corner.  Bain moves for it, 
then stops short at a HISSING in the air.  Framed by the 
window behind him, Bain sniffs, whips a look over to the
stove where the GAS LINE is wide open.

A trail of liquid leads from the kitchen to a back hall.

Bain whips a look that way where we hear the distinctive 
sound of a MATCH BEING STRUCK.

192 HALLWAY 192

				RATH
 	 	Make a wish.

Rath discards a bottle of brandy, sets the burning match 
into the trail of liquid.  As it ignites, he rushes back, 
comes face to face with Electra.  He dives for the floor, 
takes her with him.

193 KITCHEN 193

The flame trail zips in.  Bain flips the kitchen table on
its side, ducks behind it as the AIR BURSTS INTO FLAMES.
The table is driven back by the force.

194 EXT. ELECTRA'S APARTMENT - SECOND FLOOR - DAY 194

Bain hurtles back through the kitchen window, followed by
a huge fireball and lots of debris.

195 INT. APARTMENT BUILDING - HALLWAY - DAY 195

Rath rises, motions Electra to wait.  Smoke is 
everywhere.

196 INT. KITCHEN - DAY 196

A few flames, but there's not much left to burn.  Rath
peeks around the corner.  Bain isn't here.  We can see 
the ground below as well.  There is debris everywhere 
but Bain is gone.  Rath sees Jennifer's body in the door-
way.  He checks to see if she is alive.

197 ELECTRA'S BUILDING - STAIRWELL  197

Leading with his .22, Rath tries to lead Electra out,
but she doesn't want to go.  She has other things to 
consider. 

 	 			ELECTRA
 	 	Wait.  Jennifer. 
 	 	
Rath looks at her, shakes his head.  Jennifer didn't make
it.  Turning her gently, they continue down. 

198 EXT. MUSTANG - PARKED - DAY 	 198

Electra and Rath make it to the car.  Distraught, she's
still staring back as he gets her inside.

198A INT. MUSTANG - DRIVING - DAY 	 F  A198A

Electra's neighborhood.  Rath drives away.  He glances 
over at Electra who sits clutching hold of Pearl.  In 
shock over Bob and Jennifer, she's withdrawn into her-
self.  Rath knows there's nothing he can say so he keeps
quiet and drives.

198A EXT. CHAIN HOTEL - NIGHT 198A

The Mustang drives up.  Rath is at the wheel. 

199 INT. CHAIN HOTEL ROOM - NIGHT 199

Electra enters ahead of Rath.  

She sets her bag down, lets Pearl out of the porta-pet.  
Feeling like a prisoner, she sits in a chair in the 
corner.  Pearl jumps up in her lap.

Rath gets a quick feel for the room.  After checking the 
view out the window, he draws the curtains.

Rath takes off his jacket.  Pulling off his shoulder 
holster, he sets the rig on the coffee table, then sits 
in a couch opposite Electra.  The gun is halfway between 
the two.  Electra does her best to be nonchalant, but 
she's well aware of the fact.

May be the very first time we've seen Rath rela.  Pearl 
jumps to the carpet, pads her way toward him.

 	 			ELECTRA
 	 	Pearl.
 	 	
Ignoring her owner, Pearl leaps up, settles into Rath's 
lap.  As he scratches her ears...

 	 			ELECTRA
 	 	Here, girl.

Electra snaps her fingers, but PEARL just closes her 
eyes, begins to PURR.  Electra is not happy about this.

 	 			RATH
 	 	She likes me.
 	 	
 	 			ELECTRA
 	 	She likes dead fish, too.

As Rath looks down at the cat, Electra looks at the gun,
measuring the distance with her eyes.

 	 			ELECTRA
 	 	What do you call yourself?
 	 	
 	 			RATH
 	 	Robert Rath.
 	 	
 	 			ELECTRA
 	 	Yeah, sure.  Call me Electra...7    F
 	 	So, are you one of them?
 	 	
 	 			RATH
 	 	Used to be.
 	 		(checks watch)
 	 	Retired.

 	 			ELECTRA
 	 	Pardon me if I don't believe you.
 	 	
 	 			RATH 
 	 	If I was going to kill you, you'd
 	 	be dead already. 

She pretends to look away, but as Rath looks down at 
Pearl, Electra lunges for the gun.

He never moves or even blinks an eye.  He just watches as
she struggles a moment to free the .22 from its holster.
She realizes, suspects the worst.

 	 			ELECTRA
 	 	What?  It's not loaded?
 	 	
 	 			RATH
 	 	It's loaded.  
 	 	
 	 			ELECTRA
 	 	I could shoot you.  I could be
 	 	500 miles away by the time they
 	 	find you.

Electra keeps the gun on him, but can't shake the feeling
he's got the upper hand.  A long silence. 

Rath scratches Pearl's ears.

 	 			ELECTRA
 	 	Stop it.  She doesn't like it.

PEARL begins to PURR.  

 	 			RATH
 	 	Afraid you'll hit the cat?

Rath sets Pearl down, looks back to Electra.  Waits.

Without warning she starts squeezing off ROUNDS.  A LAMP
EXPLODES on one side of Rath.  Two tufts of stuffing 
erupt from the couch on the other side.  Rath doesn't 
move.

 	 			ELECTRA 
 	 		(steps forward)
 	 	You think letting me get this gun
 	 	was a mistake, don't you?  You 
 	 	think I'm afraid.  Don't you?
 	 	
She FIRES just over his head; the round digs the wall.

 	 			ELECTRA
 	 	You don't know shit about me!
 	 	
 	 			RATH
 	 	You're wrong.  I --
 	 	
 	 			ELECTRA
 	 	Shut up!

A final step, she levels the gun at Rath's face.

 	 			ELECTRA
 	 	This was supposed to be a good day.
 	 	A payday.  Forty grand.  I was 
 	 	going to get Pearl a boyfriend.
 	 	Now two people are dead.  I'm 
 	 	almost dead. 
 	 		(a beat)
 	 	I'm in way over my head, Rath. 
 	 	I just want out.
 	 	
For the first time really, she looks into his eyes.  Her
hand begins to tremble.  The gun barrel shakes.

 	 			RATH
 	 	You have the gun.  The keys are 
 	 	on the dresser.  Go.
 	 	
Electra covers Rath as she steps over to the dresser, 
scoops up the keys.  Her next words are more to reassure
herself than to convince Rath. 

 	 			ELECTRA
 	 	I don't have a social security 
 	 	number, a driver's license.  I 
 	 	barely remember my real name.  
 	 	I'm a ghost; I can disappear.
 	 	
 	 			RATH
 	 	I found you.  So did he.
 	 	
 	 			ELECTRA
 	 	I want my life back.  Please, 
 	 	that's all I want. 

Rath shakes his head.

 	 			RATH
 	 	I'm sorry. 
 	 	
Electra's finger tightens on the trigger.  Suddenly, 
jerking her arm left, she FIRES a wild shot.  A CRASH
as a cheap print is obliterated by the bullet.

Electra lowers the gun limply to her side, lets it drop 
to the carpet. 

 	 			ELECTRA
 	 	I need to be alone.
 	 		(a beat)
 	 	I haven't spent this much time
 	 	with someone in years.
 	 	
?PNear tears, Electra moves blindly for the bathroom, Pearl
at her heel.  As Electra closes the door behind her.

 	 			RATH 
 	 	Neither have I.

He closes his eyes, listens as we hear her begin to CRY.

199A INT. BATHROOM - NIGHT 199A

Her back to the door, Electra slides slowly to the floor
as she cries.  Hugging her knees to her chest, it gets
worse.  A lonely, desolate moment.  As PEARL MEWS...

200 EXT. CITYSCAPE/INT. PAYPHONE - NIGHT 200

A twinkling panorama.  We PAN ACROSS TO a computer 
screen.  A cursor blinks to life as...

Contractor: What went wrong, Miguel?

We're at a payphone booth.  Bain has hooked his laptop
into the payphone wiring.

Bain: Nothing.  I retired the buyers.  And the
 	 	seller.
 	 	
Contractor: The disc?

Cain: Rath has it.  He's a difficult mark.

Contractor: Rath isn't the mark.  THE DISC.

Bain is taken aback by this response.  He's not used to
being criticized.

Bain: You'll get it.

A long pause.  Even Bain notices.  The Contractor is 
never this reticent.  Finally...

Contractor: You had your chance.  The contract has 
 	 	been reassigned.

 	 			BAIN
 	 	What?!  No lo puedo creer!

Bain is in a rage as he types...

Bain: Fuck you.

Contractor: That's no way to talk to a lady.

 	 			BAIN
 	 	I don't care what you are --

Bain hits the repeat key.  "Fuck you's" flash across the
screen.  As the Contractor logs off, Bain slams his fist
against the glass of the booth.

201 INT. CHAIN HOTEL ROOM - NIGHT 201

Rath is at his desk conversing with the Contractor.  
Electra must still be holed up in the bathroom.  

Rath: I have the disc.

Contractor: You're still the best, Robert.

 	 			RATH
 	 	Then who's this kid?

Rath: I'd like the two million in cash.

Contractor: Where do you want to make the trade?

202 INT. CHAIN HOTEL - BATHROOM - NIGHT 202
Freshly showered, Electra looks better.  Drying her hair,
she sees that Pearl is peering into the toilet.

 	 			ELECTRA
 	 	How many times have I told you?

Pearl paws down the trip handle.  The water swirls.  As
she leans down to drink...

203 INT. CHAIN HOTEL ROOM 203

Rath watches the late news.  Troubled, he holds the disc.
The bathroom door opens and Electra emerges.  She watches
over his shoulder.

 	 			ELECTRA
 	 	What did they say about the dead
 	 	guys at the Hyatt?
 	 	
 	 			RATH
 	 	Nothing.
 	 	
 	 			ELECTRA
 	 	I don't need details, just in 
 	 	general.
 	 	
 	 			RATH
 	 	Nothing.  
 	 	
 	 			ELECTRA
 	 	That's impossible.
 	 	
 	 			RATH
 	 	No.  Not if...
 	 	
				ELECTRA
 	 	Not if what?
 	 	
				RATH
 	 	They were C.I.A. Or Interpol.

Rath CLICKS OFF the SET as the "Weather" comes on.  He
considers the disc.  Rath has a hunch, but wonders if he
really wants to know.

 	 			RATH
 	 	What's on this?
 	 	
 	 			ELECTRA
 	 	It's encrypted.  Breaking the 
 	 	code on my laptop could take two, 
 	 	maybe three hundred years.
 	 	
 	 			RATH
 	 	I thought you were a genius.
 	 	 
 	 			ELECTRA
		I am.  In fact, I was the best.
 	 	
 	 	RATH
 	 	Was?
 	 	
 	 			ELECTRA
 	 	I'm retiring, too.
 	 	(re:  disc)
 	 	I wish I had an insight, but it 
 	 	was all anonymous.  Just an 
 	 	intercepted satellite 	
 	 	transmission.

Rath knows that in this case, ignorance is bliss. 

Rath stands, goes into the bathroom.

Electra steps over to the bed.  The blanket has been
"turned-down."  Two chocolate mints rest on the triangle.

 	 			ELECTRA
 	 	There's only one bed.  I guess you
 	 	picked up on that.

Rath exits the bathroom, rolling two towels together.

 	 			RATH
 	 	It's all yours.
 	 	
 	 			ELECTRA
 	 	You want the couch?

Rath sets the roll on the floor.  He switches on a 
ceiling light directly over it.  Electra watches, under-
stands, but teases.

 	 			ELECTRA
 	 	What's that, a trick of the trade?
 	 	So you don't get too comfortable?
 	 		(off no answer)
 	 	Why don't you just tie a string
 	 	from your toe to the doorknob?
 	 	
 	 			RATH
 	 		(doesn't think 
 	 	 	twice)
 	 	The door opens in.

Rath reenters the bathroom; Electra can't help but smile.

204 BATHROOM 204

Rath sits on the toilet seat and looks at his reflection 
in the mirror.  He's not quite sure he knows who he's 
looking at.  Sensing someone else, he looks down to where
Pearl stares up at him.

205 CHAIN HOTEL ROOM 205

Electra is in bed.  The lights on her side of the room 
are off.  Rath passes.

He kicks off his shoes, sits on the floor.  He sets the 
.22 down, stops short.  Electra has set one of the "turn
-down" chocolates on his towel.  Rath picks it up. He 
lies on his back, stares at the ceiling.  On her side, 
Electra faces the other way.  As Rath unwraps the 
chocolate...

 	 			ELECTRA
 	 	Thanks.  

 	 			RATH
 	 	For what?

 	 			ELECTRA
 	 	I don't know.  Saving my life I 
 	 	guess.

A long moment of silence before...

 	 			RATH
 	 	How'd you like to make a million
 	 	dollars?
 	 	
 	 			ELECTRA
 	 	What do I have to do?
 	 		(looks over)
 	 	Nothing cheap I hope.

Rath smiles.  As he pops the chocolate into his mouth...

206 EXT. DOWNTOWN STREET - MUSTANG - DAY 206

Electra behind the wheel, in sunglasses and a kerchief.
Rath in the passenger seat as they pull up to the curb.

 	 			RATH
 	 	Follow our plan.  And if I don't
 	 	show...
 	 	
 	 			ELECTRA
 	 	I know.  Split!

Rath barely nods.  Reassuring a woman is a skill he never
had.  He takes the laptop from the back, casts about the 
front seat for something he can't find.  Electra holds up 
the disc.  He reaches, but she doesn't give it to him.
	
 			 	ELECTRA
 	 	In ten minutes you'll have two
 	 	million dollars and no reason to
 	 	come back.  I ditched you.  I 
 	 	really didn't know you that well 
 	 	at the time, but who knows, maybe 
 	 	you hold it against me and --

Rath gently crosses her lips with two fingers.  Then, 
with absolute finality:

 			 	RATH
 	 	Partners. 

She gives him the disc.  Rath gets out of the car.  
Electra watches as he disappears, swallowed by the crowd.

 	 			ELECTRA
 	 	Be careful... Partner.

Electra drives on.

207 EXT. MONORAIL STATION - DAY 207

Carrying the laptop, wearing sunglasses, Rath boards a
northbound monorail.  The doors shut and it glides away.

208 EXT. STREET BELOW MONORAIL - DAY 208

As the monorail moves along above, the Mustang follows 
below.  Her eyes looking up, Electra nearly rear ends a
car slowing for a left turn.  As she swerves around it.

209 INT. MONORAIL CAR - DAY 209

Rath sits, his back to the window.  Turning on the 
computer, he inserts the disc.  A list of file names 
scroll across the screen.  

210 EXT. MONORAIL TRACKS - DAY 210

Two tracks run parallel.  The northbound train slows as
it nears a southbound.  Reaching a station, the two
trains stop directly across from each other.

ANGLE BETWEEN TRAINS

Two facing doors open.  Rath stands, partly concealed 
behind one.  A courier behind the other.  He holds up an
open briefcase.  Inside:  20 stacks of banded $1000 
bills.

Rath, his face hidden, holds up the laptop, the screen
visible.  The laptop and briefcase are both closed.

ANGLE ABOVE TRAINS

All we see are hands as the briefcase is exchanged for 
the laptop.  As both trains continue on their way.

211 INT. MONORAIL CAR - DAY 211

Rath holds the briefcase in his lap.  It feels good. 

211A ANGLE ON WATCHER 211A

His back to Rath, reading the paper.  But watching Rath
from a piece of reflective tape on the inside lens of
his glasses.

212 EXT. MUSTANG - DAY 212

Electra drives, falling behind.  As the light turns red
ahead, she swerves 'round traffic, shoots through the
intersection inches ahead of the cross traffic.

213 INT. MONORAIL CAR - DAY 213

Picking his spot, Rath pulls down on the emergency stop
cord.  The monorail lurches to a stop. 

Rath grabs the release handle on the door, pushes it 
open. 

214 EXT. MONORAIL CAR - DAY 214

Briefcase in hand, Rath leaps, lands on the roof of a 
neighboring business. 

214A INT. MONORAIL CAR - DAY 214A

The Watcher stands, but the doors close.  True to his 
name, he can only watch as... 	 	

215 EXT. BUSINESS BUILDING - DAY 215

Rath swings himself over the edge of the roof, drops down
to the street below.	 	

215A  OMITTED 	 215A
thru 	 	 	 thru
215F 	 	 	 215F

215 INT. MONORAIL CAR - DAY 215G

As the monorail continues, the Watcher loses sight, 
doesn't see as...

215H EXT. BUSINESS BUILDING - DAY 215H

Rath's only just gotten to his feet when the Mustang 
pulls up, RADIO BLASTING.  Rath hops in and they tear 
off.

216 EXT. MUSTANG - DRIVING - DAY 216

Rath grabs the briefcase from the back. 

 	 			ELECTRA
 	 	It's in there?

Rath nods.  As he swings the briefcase onto his lap, the
RADIO LOSES RECEPTION. 

Rath frowns.  He moves the briefcase away and the 
RECEPTION RETURNS.  Rath looks around them.  Pedestrians
everywhere. 

 	 			RATH
 	 	Turn left!
 	 	
Hearing his urgency, Electra turns. 

217 EXT. SIDE STREET - DAY 217

Deserted.  Rath heaves the BRIEFCASE up with all his 
might.  It soars straight into the air.  EXPLODES!  As 
the air fills with shredded money...
 
218 EXT. MUSTANG - DAY 218

Electra slams on the brakes.  As she starts to get out,
Rath holds her back.

 	 			ELECTRA
 	 	But the money.
 	 	
 	 			RATH
 	 	Go.

The street behind them is already filling with instant
lottery winners.

218A INT. MONORAIL CAR - DAY 218A

The Watcher hears the REVERBERATION, watches smoke rise
in the distance.  He takes out a cell-phone, speed dials.

 	 			WATCHER 
 	 		(into phone)
 	 	There's been an explosion. 
 	 	
He flips it shut. 

218B INT. MUSTANG - DAY 218B

They continue.  Rath with quiet resolve. 

 	 			RATH
 	 	No money.  No disc. 
 	 	
Though shaken, Electra suddenly smiles like the cat who 
ate the canary.  Rath catches the look. 

 	 			RATH
 	 	What? 
 	 	
 	 			ELECTRA
 	 	I wasn't sure you'd come back.  
 	 	This morning I switched discs.  
 	 	All they got was a list of file 
 	 	names.  Bupkis. 

Electra holds up the real disc.  Rath can't believe it. 

 	 			ELECTRA
 	 	Zero, a goose egg, jackstraw, ni,
 	 	nada, zot, zilch, squirt, a dry 
 	 	hump, diddly squat.
 	 	(a beat)
 	 	I read a slang dictionary once. 
 	 	
 	 			RATH
 	 	Keep reading.
 	 	
 	 			ELECTRA
 	 	Your contractor just tried to kill
 	 	you.  That's not good.

Rath nods.  He takes the disc from her, considers it.

219 OMITTED 219
thru 	 	 thru
223 	 	 223

223A INT. MUSTANG - PARKED - DAY 223A

MOVE WITH Electra.  Carrying a paper bag, she exits a 
gourmet market and crosses the street to the Mustang.
Rath waits with Pearl and his computer. 

As Rath sets up his computer, Electra treats Pearl to
some caviar. 

 	 			ELECTRA
 	 	Do you know that caviar is not a 
 	 	Russian word? 
 	 	
 	 			RATH
 	 	Ikra.  It's ikra. 
 	 	
 	 			ELECTRA
 	 		(surprised)
 	 	How did you know that? 

No answer.  There is a very particular reason that he
knows this.  She watches him as he types in his access
code.  Finally, Rath looks over at her.

 	 			RATH
 	 	I had a friend... Nicolai.  He 
 	 	told me. 
 	 	
 	 			ELECTRA
 	 	Had?
 	 	
 	 			RATH
 	 	Fifteen years ago.  He was taken.
 	 	
 	 			ELECTRA
 	 	Killed?
 	 	 
Rath nods.  Before Electra can delve any deeper, the s
COMPUTER TERMINAL BEEPS.  Words appear.

Contractor: Robert, is that you?

 	 			RATH
 	 	That's right, you sonuvabitch,
 	 	I'm still alive.
 	 	
Rath: I still have the disc.

Contractor: We can make new arrangements. 

Rath plays it cool.

Rath: The price has changed. 

WIDEN to show Electra watching over Rath's shoulder.  

 	 			RATH
 	 	Let's see just how valuable he 
 	 	thinks it is. 

Rath: $20,000,000.

 	 			ELECTRA
 	 	Twenty million?!  That's insane!
 	 	
 	 			RATH
 	 	May well be.
 	 	
They wait as the screen remains, unchanged.  The 
Contractor is thinking it over. 

 	 			ELECTRA
 	 	Where do you think this person is 
 	 	right now?  A mile from here?  Ten
 	 	thousand?
 	 	
 	 			RATH
 	 	I never thought about it.  Until 
 	 	now. 
 	 	
 	 			ELECTRA
 	 	You quit your job.  You're 
 	 	having thoughts you never had 
 	 	before.  Sounds like a mid-life 
 	 	crisis to me. 
 	 	
 	 			RATH
 	 	Yes.  You're it.

Rath smiles.  The cursor flashes.  The answer is coming. 

Contractor:     It will take two days to arrange the 
                transfer.  What's the bank code and 
                account number?

Pulling out a small notebook, Rath checks a bank account
number.

 	 			ELECTRA
 	 	I don't believe it.  Twenty million
 	 	and he wants to know what the 
 	 	account number is. 
 	 		(a long beat)
 	 	Partners? 

Rath nods, types in the information.
 	 	
 	 			ELECTRA
 	 		(almost in tears)
 	 	Ten million each!

 	 			RATH
 	 	Eight.  The bank'll take twenty 
 	 	percent. 
 	 	
 	 			ELECTRA
 	 	It's that kind of bank, huh? 
 	 	
Rath STARTS the CAR.  As they pull away...

 	 			RATH (V.O.)
 	 	You have a passport?
 	 	
 	 			ELECTRA (V.O.)
 	 	Twelve.  Where are we going? 
 	 	
 	 	
224 OMITTED 224

224A EXT. AIRPORT - DAY 224A

As the plane lands in the b.g., Bain types on his 
computer.  It's set on the hood of his car.  Bain looks
at the screen as...

Contractor: Miguel?  Are you there?

Bain lets the Contractor sweat. 

Contractor: You know what I want?

Bain pauses, types his one condition: 

Bain: Say please.  A long beat.  Bain watches with satisfaction as the 
letters appear one-by-one:  P-L-E-A-S-E.

 	 	HARD CUT TO:

225 EXT. CARIBBEAN - LATE DAY 	 225

Aquamarine that can only be the Caribbean.  Without 
warning we WHIP UP OVER a sea wall, CLIMB hard ABOVE the
ruins of a colonial Spanish fort.  HIGHER and a modern
city spreads out below us.

The CAMERA DROPS, CLOSES ON a beat-up local tai.  As it
bounces over blue cobblestones...

 	 			RATH (V.O.)
 	 	The Hotel Paraiso por favor.

226 INT. LOCAL TAI- DAY (LATE AFTERNOON) 226

Rath and Electra sit in the back, both in sunglasses.
Electra looks out the window, taking everything in.  But
Rath stares straight ahead.  He's been here before.

227 EXT. HOTEL PARAISO - PLAZA COLON - LATE DAY    227

The cab stops at a four-story, boarded, blackened husk.
It's surreal, truly the shadow of its former glory.

 	 			RATH
 	 		(shocked)
 	 	The Paraiso.  Why didn't you say?
 	 	
 	 			CABBY
 	 		(thick English)
 	 	You didn't ask.  Fire, Senor.  
 	 	Years ago.  There was no money to
 	 	rebuild.
 	 	
Rath gets out, stares up at the hotel.  Electra is out
behind him.  Her attention drifts to the people around
her, the bustle on the plaza.

Rath only has eyes for a third-story Paraiso window.

Electra looks at the International Bank across the way.
It's a beautiful old building, the ornate black iron bars
on the windows in great contrast to the white-washed con-
crete walls.

 	 			ELECTRA
 	 	Is that the bank?  Is that where
 	 	our siteen mil is?

Rath isn't listening.  He's somewhere else.  She follows
his gaze to a hotel third-story window.  It's spooky.

 	 			ELECTRA
 	 	What's up there?
 	 	
 	 			RATH
 	 	He'll be.

228 OMITTED 228
thru        thru
229 	 	 229

229A INT. HOTEL PARAISO - ATRIUM COURTYARD - LATE DAYA 229A

A ruins.  Spooky even in the daylight.  Rath and Electra
enter.

She looks around, taking the place in.  Rath gestures her
toward a rickety stairwell.  Up they go.

229B INT. HOTEL PARAISO - THIRD FLOOR HALLWAY - LATE DAY 229B

TIMBERS CREAK as they make their way down.  Rath takes
Electra's arm, guides her 'round a hole in the floor.
They're going to a bad place.

229C INT. HOTEL PARAISO - ROOM 302 - LATE DAY 229C

They enter.  Electra looks about as Rath goes to the
window.  Pulling back on a decrepit shutter he looks
across the plaza and remembers.

229D FLASHBACK - EXT. PLAZA COLON - DAY (1980) 229D

The black and white of the prelude.  The plaza.  A 
sniper's rifle in the window.  A figure steps out from 
the bank.  We see more detail than before, but it seems
to strobe AWAY FROM us.  The gunman is a younger Rath.
The Mark seems familiar.  He looks up to the blank, is 
shot down.

As pigeons take wing.

 	 	CUT BACK TO:

229E INT. HOTEL PARAISO - ROOM 302 - LATE DAY (PRESENT) 229E

Rath is snapped from his reverie as real pigeons flap by
the window.  Electra studies him.

 	 			ELECTRA
 	 	Are you okay?

Rath gestures her over.  He points to strategic spots 
below as he talks.

 	 			RATH
 	 	At ten o'clock tomorrow I'll enter
 	 	the bank.  He'll be in the plaza
 	 	somewhere.  In the crowd.  When he
 	 	sees me go in, he'll move up here.
 	 	
 	 			ELECTRA
 	 	You're sure?

 	 			RATH
 	 		(nods)
 	 	You'll be at the cafe.  You'll see
 	 	him when he goes inside.  We'll 
 	 	have two-way mics so we can talk.
 	 	
 	 			ELECTRA
 	 	What do we do after he goes 
 	 	inside?
 	 	
 	 			RATH
 	 	We wait.

Rath describes the rest not the way he planned it, but 
the way he remembers it.

 	 			RATH
 	 	It'll take all day, but he'll 
 	 	begin to doubt himself.  He'll
 	 	start to think he missed me.  
 	 	He'll have to see with his own
 	 	eyes whether I'm still in the 
 	 	bank.  It'll be sunset, closing
 	 	time.  He'll have to leave the 
 	 	rifle here when he goes to the 
 	 	bank.  There are metal detectors
 	 	at the door.  When he's out of
 	 	sight, you'll come in here and 
 	 	take the rifle.

Electra looks back at the bank.

 	 			ELECTRA
 	 	What if he tries to shoot you
 	 	before you go into the bank?

Rath speaks like it was all written in stone.

 	 			RATH
 	 	He'll wait for the prime shot.
 	 	When I come out.
 	 	
 	 			ELECTRA
 	 	How can you be so sure?
 	 	
 	 			RATH
 	 	Because he likes history...
 	 		(a beat)
 	 	Fifteen years ago I was at this
 	 	same window.
 	 	
 	 			ELECTRA
 	 	Fifteen years...

And as they stand side by side, suddenly everything is
clear to Electra.

 	 			ELECTRA
 	 	Oh my God.

Rath finally looks at her.

 	 			ELECTRA
 	 	Your friend Nicolai.  You said he
 	 	was taken.

Rath nods.

 	 			ELECTRA
 	 		(a whisper)
 	 	You killed him...

Rath doesn't answer.  And suddenly Electra is scared 
again.  She looks at him a beat longer then does the only
thing she can to protect herself:  she puts on her 
sunglasses.

We MOVE IN ON the lenses, see Rath reflected in them.

230 EXT. NEW HOTEL - MAGIC HOUR 230

The cab pulls away.

231 INT. NEW HOTEL - LOBBY - NIGHT  231

Rath and Electra walk through an archway and start
upstairs.  In front of them walks a newlywed couple -- 
kissing and giggling -- very much in love -- Rath pays 
no attention while Electra can't take her eyes off them. 

232 INT. NEW HOTEL HALLWAY - NIGHT 232

They reach a landing.  To make things worse, they have 
adjoining rooms.  Rath opens their door, enters.  Electra
lingers, watches the other couple as he fumbles for his 
keys.  Watches as she runs her hand over him.  He finally
gets the door open.  He pushes her inside. 

233 INT. NEW HOTEL - ROOM - NIGHT 	 233

Electra listens to the sounds coming from the other side
of the wall.  LAUGHTER quickly turning into PASSION.

 	 			ELECTRA
 	 		(sarcastic)
 	 	You should check them out.  Maybe
 	 	they're Interpol.
 	 	
 	 			RATH
 	 		(in no mood)
 	 	Not even professionals could pull 
 	 	that act off.

As the sounds become MORE MUFFLED, Electra grabs a glass,
holds it to the wall.  Rath watches with distaste. 

 	 			RATH
 	 	You're a voyeur.
 	 	
Electra looks at him, hears the disgust in his words. 
But she has some in her own.

 	 			ELECTRA
 	 	There are worse things. 
 	 	
Rath looks away.  There are.  Electra is possessed of 
knowledge she can't understand, let alone forget. 

 	 			RATH
 	 	Look, Nicolai and me... It's none 
 	 	of your business. 
 	 	
 	 			ELECTRA
 	 		(fierce)
 	 	It is my business.  I'm with you!

Rath isn't going to say anymore.  Electra turns back to 
the wall as the sounds of PASSION BUILD.

 	 			ELECTRA
 	 		(a beat)
 	 	I can't trust you.  You can't
		trust me.  How can we possibly
 	 	help each other- 
 	 	
 	 			RATH
 	 	I trust you.
 	 	
 	 			ELECTRA
 	 	Why?  Why do you trust me?
 	 	
He doesn't have an answer.  She picks up Pearl, walks
into the bathroom.  As the door locks behind her.A

234 EXT. PLAZA COLON  234

Almost deserted, a different story after sundown.  As the
last fruit VENDOR shuts up his cart. 

 	 			BAIN (O.S.)
 	 	Un momento.  Por favor. 
 	 	
The Vendor sighs, waits as Bain, carrying a nylon bag, 
steps over.  He nods politely, scans the fruit, picks out 
two apricots.  He hands the Vendor a twenty, walks on 
without waiting for his change. 

 	 	VENDOR 
 	 	Gracias, Senor. 
 	 	
MOVE WITH Bain as he strolls across the plaza.  Biting
into the apricot, savoring the taste, he looks at the
bank, at the big iron gates barring the front entrance,
but also at the modern metal detectors just beyond.

Taking another bite, he turns, scans the opposite side.  
The Hotel Paraiso is even gloomier than the first time 
we saw it.  By instinct, Bain settles on the same window 
that Rath did.

He walks to the bank entrance, imagines the sight line 
back to the hotel.  Doing his homework. 

Finishing the first apricot, Bain sets the second on a
column ledge just to the right of the entrance.

Bain crosses the plaza to the hotel.  Pulling free a 
24 nailed to the entrance, he steps inside. 

235 INT. HOTEL PARAISO - LOBBY - NIGHT  235

An atrium courtyard.  The burnt-out interior hall bal-
conies stare down from four sides.  The ceiling is gone.

Bain stares up at the moon.  It casts broken patterns of
light across the walls and floor.  Bain seems almost 
reverent.  Like he was in a holy place.

Moving cautiously, Bain starts up the staircase, headed
for the third floor. 

236 INT. HOTEL PARAISO - ROOM 302 - NIGHT 236

Bain enters.  We jump as a FLOOR BOARD gives way with a 
SNAP.  Taking it in stride, Bain pulls his leg free,
steps carefully over to a...

237 THIRD FLOOR WINDOW 237

Bain stares across at the entrance to the bank.  A good 
clear view, the vertical angle not too EXTREME. 

He unzips his bag.  Quickly, epertly, he puts together
a sniper's rifle complete with a two-foot silencer.

Holding up the rifle, he closes one eye, sights.  A CLICK
as Bain squeezes the TRIGGER on an empty chamber.  He
looks up from the sight, across the plaza.  This is good.

238 EXT. NEW HOTEL - BALCONY - NIGHT  238

Holding Pearl, Electra stands looking out at the city.
What holds her attention is the procession moving down 
the cobblestoned street, following a trail of marigold 
petals to a nearby cemetery.  It includes children made 
up as skeletons. 	

238A INT. NEW HOTEL - HALLWAY - NIGHT 238A

A WAITER pushes a room service cart.  We don't see his
face, but we suspect the worst.  As he reaches the door
to Rath and Electra's room... 	 	

239 INT. NEW HOTEL - ROOM - NIGHT 	 239

Rath looks up at a KNOCK on the door.  Drawing his .22,
he steps over, stays to the side of the door.A

 	 			RATH
		Who is it

 	 			MUFFLED VOICE (O.S.)
 	 	Room service.

Rath places the end of the silencer against the door --
head level.

 	 	RATH
 	 	I didn't order room service.

As he cocks back the trigger, Electra steps in from the
Balcony.

 	 			ELECTRA
 	 	I did.

Rath pulls the gun away, pauses a moment to collect
himself.  He holsters it, opens the door.  The Waiter
smiles, rolls the cart in. 	 	

As he sets up the plates, Electra steps over.

 	 			ELECTRA
 	 	Excuse me.
 	 		(points out balcony)
 	 	What's happening out there?
 	 	
 	 			WAITER
 	 	The Day of the Dead, Senora.
 	 	
 	 			ELECTRA
 	 	What are the flowers for?
 	 	
 	 			WAITER
 	 	Families make a path from their
 	 	homes to the cemetery.  So the
 		souls of the dead loved ones can
 	 	find their way back home.

Electra is fascinated.  As the Waiter finishes, Rath tips
him and he exits.

 	 			ELECTRA
 	 	Can we go?
 	 	
 	 			RATH
 	 	He'll be here by now.  This room
 	 	and the bank.  That's it.

Disappointed, she sets Pearl down and steps back out on 
the balcony to watch. 	

Rath pours himself a drink.  As he does, he notices
something.  There's a slight tremble in his hand.  He h)P ?sets the drink down, looks to the balcony.  After a 
moment, he steps over, stops to the side of it.

 	 			RATH 
 	 	I wish I could explain why I 
 	 	killed Nicolai.  I may have been 
 	 	manipulated.  I don't know.
 	 		(a beat)
 	 	For what it's worth, I'm sorry
 	 	did it.

A beat.  He waits for her to say something, can't really
blame her when she doesn't.

 	 			RATH
 	 	I used to hope the same thing
 	 	would happen to me.  A least it's
 	 	a way out.

It may.  Finally, Rath steps out to be with her.

 	 			RATH
 	 	Electra...

240 EXT. BALCONY - NIGHT 240

Rath steps out.  Electra's gone!  Not on the ground a 
floor below.  Nowhere in sight.  Rath looks to the 
cemetery and the fire escape leading from the balcony
down to the cobblestone street below.

241 EXT. OLD CEMETERY - NIGHT 	 241

A procession emerges from a tunnel, through old gates and
into a cemetery.  It includes some American tourists.  
Marigold petals and candles are everywhere.  There are 
headstones, many of which lie flat.  Also much well-made
statuary.

Two local women stand to one side selling coffee and
shaved ice.  Solemn, but not dreadfully so.

Stepping up from the shadows of a darker part of the
cemetery is Electra.  She looks on eagerly.  This is
prime people-watching territory.

She spots the coffee women, starts to move in closer.  As
she passes behind a larger memorial, she hears...

 	 			BAIN (O.S.)
 	 	Hola.  Que pasa?

Electra freezes, peeks around the memorial to see Bain 
not more than four feet away, standing near the coffee 
women.  They smile at him.  He seems respectful.  In 
fact, as Bain watches the ceremony, he's in his element.

He speaks, almost like he's addressing the women, but not
really.  Electra can't take her eyes off him.

 	 			BAIN
 	 	Death is like me.  Quiet, a 
 	 	little scary.  Sharp, he's real
 	 	sharp.  And even though you want
 	 	to stay away from him, you can't.  
 	 	He draws you.  You dig him and 
 	 	fear him at the same time.  
 	 		(laughs)
 	 	I'm a million years old, but I
 	 	look like I'm thirty.

ELECTRA  

She hurries away into the shadows.  In the gloom, she 
nearly trips over a headstone.  In the process she sends 
an old GLASS CANDLE HOLDER flying.  As it SMASHES...

BAIN

At first we don't think he heard it, but then he turns,
looks back into the darkness.  He's going to turn back to
the ceremony, but he can't.  It's instinctual. 
 	 	
Reaching into his jacket, Bain heads into the darkness.
The two women watch him go.  One looks to the other,
makes "crazy circles" around her ear with a finger.

242 DARKENED CEMETERY 242

Electra moves.  Hears someone behind her.  Or was it to 
the left?  She ducks behind an angel statue.  Moments 
later, Bain steps up.  Electra holds her breath as he 
scans the area.  All of Bain's senses are working, 
including smell.

 	 			BAIN
 	 		(under his breath)
 	 	Jasmine...

His .22 in hand, Bain moves on.

Electra stands, moves back.  She hasn't gone far when a
hand slaps down over her mouth.  It's Rath! 
BAIN 	 	 -

He's starting to get a little spooked himself.  Sure 
that he's cornered someone, he leaps around a corner,
takes aim down a row of tombstones.  No one's there.

RATH AND ELECTRA

Rath's feeling the same way.  Motioning for her to stay
put, he creeps around a statue, sees Bain, draws a bead 
-- but a large group from the procession moves in between
them -- when they clear, Bain is gone.  Rath takes 
Electra's hand and they move on.

BAIN

Looking about, the feeling passing.  Then he spots it, a
Jasmine in a vase by a stone.  Bain takes a sniff.  
Laughing, he turns, heads back to the ceremony.

243 INT. NEW HOTEL - ROOM - NIGHT 243

Electra enters followed by Rath.  Rath is ehausted from
the past tension.  Electra watches as he locks the door,
leans his forehead against it.  Finally...  

 	 			ELECTRA
 	 	Am I attractive?
 	 	
Rath looks at her a beat, nods.  She is. 

 	 			ELECTRA
 	 	Are you attracted to me?
 	 	
 	 			RATH
 	 	Yes.
 	 	
 	 			ELECTRA
 	 	Is it a physical thing or a mental
 	 	thing?
 	 	
 	 			RATH
 	 	Both.
 	 	
 	 			ELECTRA
 	 	When did it start?
 	 	
 	 			RATH
 	 		(a beat; almost shy)
 	 	When you were shooting at me.
 	 	
 	 			ELECTRA
 	 	That's strange, don't you think?
 	 		(a beat)  
 	 	You're a strange man, Robert Rath.
 	 	
 	 			RATH
 	 	Joseph.  My real name is Joseph.
 	 	
For a man like Rath, this is like giving her the Hope 
Diamond.  Electra knows it.  A beat and then...

 	 			ELECTRA
 	 		(savors the sound)
 	 	Joseph... I'm Anna.  It's awfully 7  
 	 	nice to meet you. 
 	 	

She holds her hand out like a promise.  All Rath has to 
do is take it.  He does.  They come together.  Kissing, 
wanting, needing contact.  And they're on the bed.  Never 
have two people needed each other more.  As Pearl runs 
out of the room...

244 INT. NEW HOTEL - ROOM #2 - NIGHT  244

Lying in their bed, the newlyweds listen to the sounds of
LOVEMAKING coming from the room next door.  As they smile
at each other...

245 EXT. BANK ENTRANCE - CLOSE ON APRICOT - NIGHT 245

that Bain left here.  Dewy, glistening.  Without warning,
it EXPLODES into a thousand pieces.

 	 	WHIP PAN TO:

246 INT. HOTEL PARAISO - ROOM 302 - NIGHT 246

Bain lowers the rifle.  Slowly, solemnly, he raises his
forefinger to heaven.  Tomorrow he will be number one.
And Rath's dream of a new life will die.

247 EXT. PLAZA COLON - DAWN 247

Deserted as the sun casts an early morning glow.

248 INT. NEW HOTEL - ROOM - COMPUTER SCREEN - DAY 248

Contractor: The contract has been paid.
			Transferred to the specified account.

Rath and Electra look from the screen to each other.
More than partners this morning.

Rath: And the disc?

Contractor: You'll be advised.  Good-bye, Robert.

The screen goes blank.  Rath switches it off.  Sitting in
front of the remains of a huge breakfast, Electra pours
herself coffee.

Rath opens a case.  He takes out two small "hearing aid"
mics.  He sets them on the table alongside his gun.
Electra immediately scoops up one of them.

 	 			ELECTRA
 	 	Two way?
 	 	
 	 			RATH
 	 		(nods)
 	 	Remember, you tell me when he 
 	 	leaves the hotel; I'll tell you
 	 	when he leaves the bank.
 	 		(a beat)
 	 	We're gone.

Electra nods.  Rath hands her his .22.

 	 			ELECTRA
 	 	What's this for?

 	 			RATH
 	 	Just in case.
 	 	
Electra moves to hand it back, but Rath doesn't take it.

 	 	ELECTRA
 	 	I don't think I could shoot 
 	 	someone.  
 	 	
 	 	RATH
 	 	Did you play Cowboys and Indians
 	 	when you were a kid?
 	 	
 	 	ELECTRA
 	 	Sure, but this --
 	 	
 	 	RATH
 	 	Which were you?
 	 	
 	 	ELECTRA
 	 	An Indian.  Always an Indian.
 	 	
 	 	RATH
 	 	Then pretend he's a cowboy and
 	 	pull the trigger.  You can pretend 
 	 	he'll just get up after, but you 
 	 	pull the trigger.

For Electra, this is getting a little too real.

249 INT. BANK - DAY 249

Glossed with light.  We PULL BACK and see other squares.
Black and white.  Like a chessboard.  A woman's HEELS
CLICK past.  RISING HIGHER, we see the woman walking.
man crosses behind her going the other way.  HIGHER STILL
and we realize we're looking at the black and white 
marble floor of the...

250 INT. BANK - DAY 250

The ceilings are vaulted and vast, the suspended lights
baroque.  An enormous clock (10:00 AM) hangs from the 
wall.  With its massive oil paintings and bronze statues,
the bank could be a museum.

Armed guards stroll the floor.  Customers go about their
business.  Carrying a large black briefcase, Rath steps
onto the checkered floor.

251 EXT. OUTDOOR CAFE - DAY 251

Set just off the plaza with a view of the side of the 
hotel and the front of the bank.  Electra sits on the
patio sipping a thick, almost sludgy espresso.  She
hears Rath over her ear-piece.

 	 			RATH (V.O.)
 	 	I'm in the bank.  He'll move now.

She scans the plaza, nervous.

 	 			ELECTRA
 	 	I don't see him.  I --

There.  Across the Plaza.  Bain glides through the crowd
like a shark.  Headed for the Hotel Paraiso.

252 INT. BANK - DAY 252

Rath waits for a teller.  Electra whispers in his ear.

 	 			ELECTRA (V.O.)
 	 	He's here.

253 EXT. OUTDOOR CAFE - DAY 253

The owner brings a second espresso, steps away.  Electra
downs it in a gulp as she watches Bain disappear between
a gap in the boarded-up, burned-out hotel.

 	 			ELECTRA
 	 		(scared)
 	 	He's going in.  He's in the 
 	 	hotel.

254 INT. BANK - DAY 254

Rath hears the fright in her voice.

 	 			RATH
 	 	That's what we want.  Try a 
 	 	decaf.
 	 	
Rath steps up to the TELLER.

 	 			TELLER
 	 	May I help you, sir?
 	 	
 	 			RATH
 	 	Yes.  Could you check on a 
 	 	transfer for me?

Rath slides a withdrawal ticket over.

255 INT. HOTEL PARAISO - ROOM 302 - DAY7    255

Bain steps into the same room we saw him in last night.
He reaches overhead into some charred, half-collapsed
timbers, pulls down the silenced sniper's rifle.

Stepping to the window, Bain aims at the bank entrance.  
Through the scope he follows an eiting man.  The cross-
hairs are right on the man's forehead.  Bain pulls the
trigger.  CLICK.

Satisfied, Bain slaps a magazine into the rifle.  Reach-
ing into his pocket he pulls out an orange.  Watching 
the bank, he starts to peel it.  He reaches into a 
duffel bag, pulls out his small keyboard and a set of
headphones.  He plugs in the phones, begins to play, 
always watching the bank.

256 INT. BANK - TELLER'S WINDOW - DAY         256

The Teller returns with a BANK OFFICIAL.  He carries a
printed receipt, wears a great big smile.

 	 			OFFICIAL
 	 	Senor.  We have received your 
 	 	transfer.
 	 	
He hands the receipt to Rath who sees a "two", counts the
zeros after it.  There are seven of them.

 	 			RATH
 	 	I want to close this account.  
 	 	Could you get the paperwork 
 	 	together?

The smile fades.

 	 			OFFICIAL
 	 	Today?  You wish to close the
 	 	account today?

Rath nods solemnly.  No joking here.

 	 			OFFICIAL
 	 	How would you like the funds?
 	 	
 	 			RATH
 	 	American currency.

It's all the Official can do to keep from crossing him-
self.  He looks around, catches the eye of the one man in
the building who looks even more official than he does --
the BANK PRESIDENT.

The President steps over, confers with his underling in
low tones.  In Spanish.  Occasionally the President 
glances at Rath, but mostly he listens.  Finally...

 	 			PRESIDENT
 	 	You're aware, Senor, that there
 	 	may be... a withdrawal fee?
 	 	
 	 			RATH
 	 	Yes, I am.

The President looks to the Official, nods.  As the
Official hurries off, the President looks back to Rath.

 	 			PRESIDENT
 	 	This will take some time.
 	 	
 	 	 	 	RATH
 	 	I have all day.
 	 	
 	 	DISSOLVE TO:

257 EXT. SUN  257

High in the sky.  White hot.

258 INT. HOTEL PARAISO - ROOM 302 - DAY7    258

Bain sits in a charred chair staring out the window, his
back soaked with sweat.  He rubs his eyes.  One at a 
time.  He's afraid to blink lest he miss something.  He 
checks his watch, raising it to eye level, rather than 
look down.

 	 			BAIN
 	 	What are you doing in there?

The heat in the room makes it hard to even breathe.  
There!  A man walks out of the bank dressed like Rath.

Bain's body snaps erect.  Leveling the rifle, he sites 
the man's head.  He's about to squeeze the trigger when 
he realizes it's not Rath.

Bain wipes the sweat from his forehead, leaves a smear of
black from the charcoal.  Fumbling for his bag, he pulls
out a container of bottled water.  He drinks, never once
taking his eyes off the bank.

 	 			BAIN
 	 	Relax, baby.  Calmate...

259 EXT. PLAZA COLON - DAY 259

The shadows are getting longer, stretching out toward the
bank where...

260 INT. BANK - DAY 260

Rath sits in a big, highback leather chair.  Cool as a
cucumber, he watches the traffic in the lobby.  The big
clock reads 3:10.

 	 			RATH
 	 	Talk to me.

261 EXT. CAFE - DAY 261

Electra watches the hotel, a sith empty espresso cup
before her.

 	 			ELECTRA
 	 	No sign of him.  He's just sitting
 	 	up there, same as us.

INTERCUT the following:

262 INT. BANK/EXT. CAFE - DAY 	 262

 	 			RATH
 	 	No.  I mean talk to me.  Tell me
 	 	some of that weird stuff you 
 	 	know.

Electra smiles, thinks a beat.  An old man in a beat
fedora passes by.  Inspiration.

 	 			ELECTRA
 	 	You know the expression, 'Mad as
 	 	a hatter'?
 	 	
 	 			RATH
 	 	Alice in Wonderland, right?
 	 	
 	 			ELECTRA
 	 	Yeah, but it's a real thing.  Hat
 	 	makers, hatters, they used 
 	 	mercurous nitrate to make felt
 	 	hats.  They'd absorb it through
 	 	their skin and some of them went
 	 	insane.  No one knew why at the
 	 	time.  As long as their hats fit.

Rath is amused.

 	 			RATH
 	 	Tell me another one.
 	 	
 	 			ELECTRA
 	 		(coy)
 	 	Well, there's 'Mad as a March 
 	 	Hare.'
 	 	
 	 			RATH
 	 	What's that, rabbit hat makers?
 	 		
 	 			ELECTRA
 	 	Hares are bold, wild in March.
 	 	March is when they mate.
 	 		(a beat)
 	 	I think the correct term is 
 	 	'rutting.'  Wild rutting bull
 	 	bunnies.

As Rath smiles to himself.

263 INT. HOTEL PARAISO - ROOM 302 - DAY 263

Teeth gritted, Bain rocks side to side.  He has to 
urinate.  Bad.  He tries to scan the faces coming out 
of the bank, but the situation has become intolerable.

 	 	BAIN
 	 	Esto es una locura!

Always watching the bank, he grabs the empty water 
bottle, unzips his pants and begins refilling it.

264 INT. BANK RESTROOM - DAY 264

INTERCUT Bain's discomfort with Rath in the bank's 
elegant restroom.  He stands at the sink, pats his hands 
dry on a towel.  Not a trace of sweat on his brow.

265 INT. HOTEL PARAISO - ROOM 302 - DAY 265

Spotting someone exiting the bank, Bain drops the bottle
of urine, spilling it, to grab for his rifle.  He looks
through the scope.  Not Rath.  As Bain curses...

266 EXT. CAFE - DAY 266

Concerned, the owner starts for Electra with another cup
of espresso.  Seven empties dot her table.  She looks
over, waves him off.  No mas.

267 INT. BANK - DAY 267

The sun clock on the wall reads 5:10.  After a long beat,
the MINUTE HAND CLICKS over to 5:11.  PAN DOWN TO where
the Bank President approaches Rath.

 	 			PRESIDENT
 	 	Senor, we've deducted our fee 
 	 	and are making a second count.  
 	 	The funds will be available in 
 	 	one half hour.
 	 	
268 INT. HOTEL PARAISO - ROOM 302 - DAY 268

The sun is getting low, filling the room with golden 
light.  Bain is just a knot by the window.  As a large 
group exit the bank, he scans faces through the scope.  
Frantically as they disperse.  No Rath.

Bain pounds the butt of the rifle down, splintering a
floorboard.  He checks his watch.  5:47.  In fifteen
minutes the bank will close.  Maybe he missed him...

Bain stands up.

269 EXT. CAFE - DAY        269

Electra sits up almost in shock as she sees Bain emerge
from the shadows of the hotel.  He moves with purpose,
shoving aside people who don't get out of his way.

 	 			ELECTRA
 	 		(almost shouting)
 	 	He's coming.
 	 		(a whisper)
 	 	He's coming.

270 INT. BANK - DAY 270

Rath looks up at the clock, frowns as he remembers.

 	 			RATH
 	 	He waited four minutes longer 
 	 	than I did.
 	 	
 	 			ELECTRA (V.O.)
 	 	What?
 	 	
 	 			RATH
 	 	Go.

271 EXT. CAFE - DAY 271

Electra moves for the hotel, enters.

272 INT. HOTEL PARAISO - LOBBY - DAY  272

Watching her footing, Electra heads up the main stair-
case, on her way to the third floor.

273 INT. BANK - DAY 273 
The Bank Official carries Rath's briefcase to the 
President's desk.  It looks heavy now.  The President 
looks to Rath who motions he'll be one moment.

 	 			RATH
 	 		(into mic)
 	 	Where are you?
 	 	
 	 	
274 INT. HOTEL PARAISO - BURNED-OUT HALLWAY - DAY 274

Electra counts doors, enters... 

275 ROOM 302 275

 	 	ELECTRA
 	 	I'm in 302.

She's ready to grab the rifle and run.  The only problem
is, it's not here.  She checks behind a blackened 
mattress leaning against the wall.  Nothing...

 	 	ELECTRA
 	 	It's not here.  The rifle's not here. 
 	 	

276 INT. BANK - DAY 276

Rath is horrified.

 	 	RATH
 	 	Get out of there.  

277 EXT. PLAZA COLON - DAY 277

Bain strides across the plaza, a maniac gleam in his eye.
The bank is just ahead. 

278 INT. ROOM 302 - DAY 278

Electra looks through the lathing into 301.  Maybe she 
has the wrong room.  But as she turns, she spots it.  
Bain's rifle stashed up in the rafter.

 	 			ELECTRA
 	 	Wait.  I got it!

279 INT. BANK - DAY 279

Relief replaces the nausea.

 	 			RATH
 	 	Okay.  Go.

280 INT. BANK - DAY 280

As Bain charges in, Rath removes the ear-piece, pockets
it. 

281 INT. ROOM 302 - DAY 281

But as Electra steps forward, the floor gives out at her
feet.  She falls, jerks to a stop as her ribs wedge into
the hole.  She cries out in pain.

282 INT. BANK - DAY 282

Soaked in sweat, his eyes covered by sunglasses, Bain
scans the lobby.  Rath sits, waits, unaware of Electra's 
plight.

Turning, Bain spots him.  A man seemingly without a care 
in the world.  Confused, Bain's first instinct is to run.  
But then, taking a breath, he starts for Rath.

 	 			BAIN
 	 	How'd you know?  Who told you?

 	 			RATH
 	 	History -- Nicolai.  Fifteen years 
 	 	ago I walked into this bank just 
 	 	like you are now.  That makes you
 	 	good.  Because I was the best.
 	 			(a beat)
 	 	But right now you feel like a mark,
 	 	don't you?

The words sting.

 	 			RATH
 	 	You think you've been sold out. 
 	 	You don't trust anyone.  It's the
 	 	first commandment.  It's what 
 	 	keeps you alive.  
 	 	
 	 			BAIN
 	 	And you, Antiquado?  Who can you 
 	 	trust?  No one.  You're alone, 
 	 	same as me. 

If Bain only knew how wrong he really was. 

283 INT. ROOM 302 - DAY 283

 	 			ELECTRA
 	 	Rath.  I'm stuck.

No answer.  Electra follows the ear-piece cord to the
transmitter unit under her shirt.  A tug reveals it's
smashed from the fall.

284 INT. BANK - DAY 284

Bain's nervous, watching anyone who comes near them.

 	 			RATH
 	 	Why the sunglasses, kid?  Can't
 	 	you look me in the eye?

Bain turns defiantly toward him, seething with energy.

 	 			BAIN
 	 	You and Nicolai.  Me and you.
 	 	History will repeat.

 	 			RATH
 	 	If you were really a student of
 	 	history, you'd know we're just
 	 	pawns.  The contractor is number
 	 	one.

Not listening, Bain glances toward the back of the bank.

 	 			RATH
 	 	There's sixteen million coming 
 	 	out of there.  I could give it to
 	 	you right now to let me walk.  You
 	 	wouldn't take it.
 	 	
 	 			BAIN
 	 	You're pathetic.  You sound like
 	 	a mark.
 	 	
 	 			RATH
 	 		(smiles sadly)
 	 	No.  I just know where you're
 	 	going.

Bain takes off his sunglasses, looks Rath in the eye.
Bain suddenly doesn't look so nervous.

			 	BAIN
 	 	I tell you, that night, in the 
 	 	cab, I thought I was lucky to 
 	 	be alive.  Now I think different.  
 	 	You were the lucky one.

Rath sits calmly, stares back at him.

 	 			RATH
 	 	You're right.  I am lucky.
 	 	
 	 			BAIN
 	 	No more chit chat. 

A beat.  And then, Bain winks.

Turning, he heads for the exit.  As he disappears, Rath
reaches into his jacket, sticks his ear-piece back in.
	
 	 			RATH
 	 	Electra, where are you?  

No answer.  Rath frowns.

 	 			RATH
 	 	Electra?  

285 INT. HOTEL PARAISO - ROOM 302 - DAY 285

Panic is setting in as Electra struggles in vain to free
herself..

286 INT. BANK - DAY 286

Rath looks up as the Bank President and guards step over.
One carries the briefcase. 

 	 			PRESIDENT 
 	 	Everything is in order, Senor. 

287 EXT. PLAZA COLON - DAY 287

Trying to look three different ways at once, Bain crosses
the plaza in long, pounding strides.

288 INT. HOTEL PARAISO - ROOM 302 - DAY 288

Slowly, painfully, carefully, Electra eases herself from
the hole she's in.  Almost out, she slips back.

289 INT. BANK - $16,000,000 - DAY 	 289

in the open briefcase.  Held by one of the guards.  The
Bank President closes it, looks over at Rath.

 	 			PRESIDENT
 	 	This is awkward, not really my 
 	 	affair.  But I was told you would 
 	 	give us something.  In return.

The guards look formidable.  As Rath's eyes narrow.

290 EXT. HOTEL PARAISO - DAY 290

As Bain blasts inside...

291 INT. HOTEL PARAISO - ROOM 302 - DAY 291

Almost out, Electra pulls herself free.  It hurts.  And
then, she hears BAIN TEARING UP the hotel STAIRS.

292 INT. BANK - DAY 292

As Rath hands the disc over to the almost apologetic Bank
President.  He sticks it in a scanner similar to the one
Bain used.  The light flashes green.  It checks out.  The
guard hands Rath the briefcase.  The President gestures 
toward the exit.  The clock reads 6:03. 

 	 			PRESIDENT
 	 		(smiling)
 	 	And now, we are closed, Senor.

293 INT. HOTEL PARAISO - ROOM 302 - DAY7    293

Electra reaches to the rafter, but can't quite get the 
rifle.  Bain sounds awfully close.  Terrified, she 
reaches again.

294 INT. HOTEL PARAISO - 3RD FLOOR HALL - DAY    294

Here he comes.  Like a wild beast.  He charges into...

295 INT. ROOM 302 - DAY 295

Electra is gone.  Bain charges to the spot, on tiptoes,
pulls down his rifle and bag.  Whipping to the window, 
he sites through the scope.  The stairs are empty. 

 	 			BAIN
 	 		(intense)
 	 	Step outside, Rath.  Step outside
 	 	and I'll set you free.

ANGLE BEHIND BURNED MATTRESS- 

Here she is.  Trembling, Electra peeks out, sees Bain's
back.  At the window.  Fifteen feet away.

296 INT. BANK - DAY        296

Rath walks toward the exit, closely followed by the 
guards and Bank President.  One long walk.  Like a 
man being released from prison, or is he on his way 
to eecution dock?  We'll know in a few moments.

297 INT. ROOM 302 - DAY 297

Bain's attention is riveted to the hotel steps.

 	 			BAIN
 	 	Come on.  Orgulloso toro.  I got the
 	 	sword right here.  There's no shame.  
 	 	I promise you won't feel a thing.

Behind him, behind the mattress, Electra raises Rath's
.22, her hand shaking like crazy.

298 INT. BANK - EXIT - DAY 298

No flood of light this time.  In fact, it looks dark 
outside.  Rath is crowded from behind by the guards.

 	 			PRESIDENT
 	 	Thank you for your business, Senor.

Practically pushed into taking a step outside, every-
thing is suddenly spinning out of his control.  As the
big doors shut behind him...

299 INT. ROOM 302 - DAY 299

Bain has Rath in the doorway.  Not quite a clean shot, 
but Bain's willing to wait.
 	 	
 	 			BAIN
 	 	Take a step.  Just one little step.
 	 	
Electra's knuckles are white around the .22's grip.  But 
she can't pull the trigger.  Bain isn't a cowboy and she's
not an Indian.

300 EXT. BANK - DOORWAY - DAY 300

Rath looks from side to side.  There's no car waiting.
In fact, the Plaza is nearly deserted.

 	 			RATH
 	 	Electra?  Are you there?

Head down, there's only one way to find out.  Rath 
starts down the stairs.

301 INT. ROOM 302 - DAY 301

Bain leans forward, his aim rock steady.

The crosshairs are an "X" on the top of Rath's head.

 	 			BAIN
 	 	Look up.  I want to see your eyes.

Electra better act.  Now's not the time to be a voyeur.

302 EXT. PLAZA COLON - DAY 302

Rath stops, slowly looks up.  He sees the rifle's long
silencer jut from the window, Bain's shadow beyond it. 
He's a dead man, but the worst part is not knowing where
Electra is.  Was he deserted?  Is she in trouble?  In 
another second, it won't matter.

303 INT. ROOM 302 - DAY 303

About to pull the trigger, Bain hesitates... 

304 BAIN'S POV - THROUGH RIFLE SCOPE 304

He sees the mic in Rath's ear, the cord snaking under 
his shirt.

305 ROOM 302 305

Bain frowns, then sniffs the air.  There's something 
strangely familiar in it.

			 	BAIN
 	 	Jasmine.
 	 	
Bain whips a look back over his shoulder, sees Rath's 
.22, Electra who practically shrugs in apology.  

 	 			ELECTRA
 	 	Howdy...

The .22 SILENCER kisses the air.  Bain's shoulder erupts 
red.

306 EXT. PLAZA COLON - DAY 306

Pigeons take wing as Rath sees the RIFLE twist up, FIRE
wildly into the sky.  A beat and Rath dashes forward.

307 INT. ROOM 302 - DAY 307

The rifle dropped, Bain grabs his bag and charges for the
wall.  Electra FIRES TWICE more, misses twice as Bain 
crashes through the lathing into...

308 ROOM 301 308

Stumbling blind, he falls.  The floor opens beneath him 
to let him pass.

309 EXT. PLAZA COLON - CAFE - DAY 309

Rath races for the hotel.  Past a man picking up coffee
cups.

310 INT. THE HOTEL PARAISO - ROOM 301 - DAY 310

Electra steps up.  The .22 trained on the hole, she 
looks down.  Bain's bag is there, but the man himself
is nowhere in sight.  A ghost.  Electra moves.

311 INT. 2ND FLOOR HALLWAY - DAY 311

Bain on his back, aiming his own .22 at her footsteps
overhead.  He FIRES.

312 INT. 3RD FLOOR HALLWAY - DAY 312

There's no warning blast, just BULLETS silently drill-
ing the floor at her feet.  Electra runs, aware the 
floor could collapse under any given footfall.

313 INT. 2ND FLOOR HALLWAY - DAY 313

Bain moves to the railing, aims at the stairs.

Electra appears on the landing above, freezes as she 
realizes she's eposed.

 	 			RATH (O.S.)
 	 	Bain!

Rath in the lobby.  Before Bain can target him, he's 
gone.

So is Electra.

 	 			BAIN
 	 	Two against one.  Is that your
 	 	edge, Rath?  You didn't take the 
 	 	mark.  You took the bribe.

Bain starts for the stairs.

 	 			BAIN
 	 	I'll take her, even the odds!
 	 	
 	 			ELECTRA (O.S.)
 	 		(scared somewhere)
 	 	I think he's serious, Rath!

314 ROOM 205 314

Rath pulls himself up through a hole in the floor.

 	 			RATH
 	 	You've got something of mine, 
 	 	Electra.

315 3RD FLOOR HALLWAY 315

Electra looks at the .22, gauges Rath's position from his 
voice.

 	 			ELECTRA
 	 	When do you want it back?!
 	 	
 	 			RATH (O.S.)
 	 	Now!
 	 	
316	ATRIUM - HALLWAY BALCONIES 316

Electra appears at the third floor balcony.  Rath at the
second, a little further down.  Bain turns the corner on 
the staircase.

As Electra tosses Rath the .22, Bain FIRES.  Time slows.

Rath's hand closes around the gun even as he's hit in 
the shoulder.  Stumbling back, he RETURNS FIRE.

Electra has disappeared from the railing as Bain con-
tinues after her.  And getting to his feet... 

Rath gets to his feet and motors.

317 3RD FLOOR 317

Light plays through the lathing.  Every creak could 
mean your life.  INTERCUT BETWEEN Rath, Electra and 
Bain as they play the equivalent of the hedge-maze 
game.

Bain FIRES at a shadow moving against a wall three 
rooms away.

Electra nearly steps into a gaping hole as she looks 
back at a sound behind her.

Rath wheels as the Electra WHISPERED NAME "Rath" ECHOES 
oddly.  No way to tell where it came from.

318 3RD FLOOR HALLWAY 318

The full length stretched before us.  Electra steps 
out from a room.  Rath appears at the other end.  As 
she starts toward him, Bain steps out from the opposite 
end.  She's about to get caught in one hellacious 
crossfire.

 	 			RATH
 	 		(dashing forward)
 	 	Down!

As Electra hits the deck, Bain leaps forward with a 
rebel yell.  The two men unload their silent .22's.  
Sprinting at each other.  Bain shouting.

Rath jerks to a sinew-stretching stop as his right leg 
goes through the flooring.  He FIRES... 

And as Bain's hit in the thigh, he goes down.  Disappears h)f through the floor right at Electra's feet. 

319 INT. FLOORS - DAY 319

MOVE WITH Bain as he tumbles.  Breaking, then continuing 
his fall at each floor he encounters.

320 3RD FLOOR HALLWAY 320

Rath and Electra look THROUGH the hole.  No ghost this
time.  Bain's down there.  Motionless, nearly buried 
in debris.  Rath looks up at Electra.

 	 			RATH
 	 	Don't move.

Rath starts down the hall.  A beat and Electra is 
following right behind him.

321 INT. HOTEL PARAISO - LOBBY - DAY  321

The light from the lowering sun slips through gaps, 
cracks and broken window panes, casting surreal patterns.

Rath steps over to where Bain lies broken.  .22 aimed at
Bain, he turns to face Electra as she comes up behind.

They embrace a moment before he pulls away.  The only way
to describe him is pissed with joy.

 	 			RATH
 	 	You weren't supposed to be here.
 	 	What happened?  What the hell
 	 	happened?!

Before Electra can explain...

 	 			VOICE (O.S.)
 	 	That's no way to talk to a lady.

322 INT. LOBBY - DAY 322

A chill down Rath's spine.  He wheels, but the voice has 
no source.  Till The CONTRACTOR steps out of the shadows,
holds a .22 about a foot from Electra's head.

 	 			CONTRACTOR
 	 	It's been a long time, my friend.

Rath turns, is stunned at the sight.h)g 

 	 			RATH
 	 	Nicolai.

 	 			NICOLAI/CONTRACTOR
 	 	The years have been good to you,
 	 	Robert.
 	 		(re: gun)
 	 	Put it down.

Nicolai motions to Rath's gun.  Rath has no choice.  He
drops it.  Nicolai gestures toward Bain.

 	 			NICOLAI
 	 	Miguelito?
 	 		(as Rath nods)
 	 	I never pictured him so young.
 	 	shame.  Second best after all.

Electra can't believe what's happening.  She looks from
Nicolai to Rath.

 	 			ELECTRA
 	 	You killed him.
 	 	
 	 			NICOLAI
 	 		(smiles)
 	 	He did.

Nicolai opens his jacket to reveal a bulletproof vest.

 	 			NICOLAI
 	 		(to Rath)
 	 	Walking out of that bank was the
 	 	worst moment of my life.
 	 		(to Electra)
 	 	He always went for the heart.
 	 	Predictable.

Nicolai holds up a flattened slug, tosses it to Rath who
lets it land on the floor.

 	 			RATH
 	 	Fifteen years, fifteen goddamn
 	 	years you let me think I killed
 	 	you.  You sonuvabitch.
 	 	
 	 			NICOLAI
 	 	You're forgetting you shot me.
 	 	You sonuvabitch.

Rath can't argue the facts.

 	 			NICOLAI
 	 	The Cold War was ending.  I needed
 	 	to die.  To leave no past behind.
 	 	You delivered me.
 	 		(looks to Electra)
 	 	You, my darling, must be the mark.
 	 	
 	 			ELECTRA
 	 	And you, my darling, must be the
 	 	contractor.
 	 	
 	 			NICOLAI
 	 		(nods; to Rath)
 	 	I'm disappointed, Robert.  You
 	 	were supposed to kill her.
 	 	
Rath is the only one aware that Bain has come to.

With his free hand, Nicolai pulls the disc from his
pocket, looks to Electra.

 	 			NICOLAI
 	 	You're a thief.  A good one.
 	 	
 	 			ELECTRA
 	 		(looks to Rath)
 	 	I'm retired.
 	 	
 	 			NICOLAI
 	 	I had to use both my best to
 	 	track you down.
 	 	
 	 			ELECTRA
 	 		(re: disc)
 	 	Let me guess.  There's something 
 	 	on there that would bring you
 	 	back to life.
 	 	
 	 			NICOLAI
 	 		(nods)
 	 	You're very good.  Also a shame.

Rath and Nicolai regard each other grimly.  A moment of
truth is at hand.

 	 			ELECTRA
 	 		(scared)
 	 	Hey, can't you two just kiss and 
 	 	make up?

Nicolai smiles at her, picks the briefcase up off the
ground.  At the same time, Bain's hand moves almost
imperceptibly to his gun a few inches away.

 	 			NICOLAI
 	 	This is sad for me, Robert.
 	 	Sentimental, but I didn't want
 	 	to find you alive.
 	 		(a beat)
 	 	First things first.

Nicolai motions Rath to take a step aside.  Nicolai moves
forward.  Leaning over Bain, he holds the .22 to the base
of his skull.  The coup-de-grace.

 	 			NICOLAI
 	 	Always make sure.  You should've
 	 	known better.

As Nicolai's finger tightens, Rath dives for his own gun.
Nicolai swings his aim for Rath enabling Bain to grab
his own .22.

Bain FIRES from the rubble, drills Nicolai up through the
chest cavity.

Nicolai drops.  Rath rolls to his feet, aims at Bain who
swings his aim to Rath.  But neither man fires.  

 	 			ELECTRA
 	 	Don't do this.

Finally, Bain sticks out his free hand.

 	 			BAIN
 	 	Ayudame...
 	 		(sighs)
 	 	Help me up, will you?

Rath takes his hand, pulls Bain, bloody, covered in soot,
to his feet.  As Rath stares down at Nicolai.

 	 			RATH
 	 	I'm gone.
 	 	
Bain considers the implications.

 	 			BAIN
 	 	That would make me number one.
 	 	
 	 			RATH
 	 	I can live with that.  Can you?
 	 	
 	 			BAIN
 	 	Absolutamente.  Companeros.
 	 	
Bain turns his aim away.  Rath does the same.  Electra
breathes a sigh of relief.  Rath moves toward her.

 				BAIN
 	 	I'm sorry, Rath.

Rath freezes as he hears the HAMMER COCK behind him.  
Bain has him dead, the .22 aimed at the back of Rath's
head.

 	 			BAIN
 	 	As long as you're out there,
 	 	I'll never be number one.

Feeling like a fool, Rath looks across at Electra. 
beat.  In a moment of compassion, Bain turns his aim away.

 	 			BAIN
 	 	You want to say goodbye?

Rath has nothing to say.  He just looks at her.

In response, Electra raises her sunglasses, slides them 
on.  Like she's withdrawing away at the end.  But wait.  
That's not it at all.

Rath's eyes flicker wide as he sees Bain in the lens
reflection.  Rath knows eactly where he's standing.

Bain realizes as well.  As he moves to fire...

The side of Rath's coat blossoms as Rath SHOOTS through
it.  Like a Wild West trick shooter.

Hit in the chest, the gun slips from Bain's hand.  His
eyes flicker from his wound to Rath.  Rath stares back.

Bain goes down hard.  He's dead.

Rath and Electra come together.  A beat and they start
out.  On the way, Electra scoops up the briefcase. 
moment more and they're gone.

323 OMITTED 323

		FREEZE FRAME.

 	 	FADE TO BLACK.

						THE END