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MISSION: IMPOSSIBLE
16TH AUGUST 1995
NOTE: THE HARD COPY OF THIS SCRIPT CONTAINED SCENE NUMBERS
AND SOME "SCENE OMITTED" SLUGS. THEY HAVE BEEN REMOVED FOR
THIS SOFT COPY.
INT. KIEV APARTMENT - NIGHT
We're in a large closet. JACK KIEFER, an athletic American
in his late thirties wearing a headset, is wedged into a
corner, staring at a television screen.
The television shows a surveillance view of the living room
that lies outside the confines of the closet. The TV image
is in black and white. JACK shifts, trying like hell to get
comfortable but he's been there a while
ON THE SCREEN
A bare bulb shines down on the contents of a shabby hotel
room. Directly under the blub a man, GENNADY KASIMOV, sits
in a straight backed wooden chair in his blood-stained T-
shirt. There are a couple of THUGS and a stray HOOKER in the
room behind him. A legend:
KIEV
KASIMOV is sobbing. Uncontrollably. A MAN enters the room,
ANATOLY, an imperious Russian in his forties, a Russian
godfather. The THUGS and HOOKERS are ushered out. ANATOLY
looks down at KASIMOV pitiously and urges him to go and sit
by him in a chair he picks up for him. KASIMOV does as he is
bid, looking gratefully up at ANATOLY. They speak in Russian
which is subtitled.
ANATOLY
Kasimov, Kasimov, good that you called
us.
KASIMOV
(sobbing)
I don't remember what happened! We were
at the bar, drinking, laughing -- having
fun.
ANATOLY gets up out of the chair and goes to a bed across the
room. A WOMAN lies half under the sheets. She's lying in an
unnatural position on the bed, and the sheets are smeared
with blood. She's dead. ANATOLY lifts her eyelid.
KASIMOV
I don't even know how I got here.
I swear, Anatoly, I never touched her! I
didn't lay a finger on her.
ANATOLY moves away from the WOMAN.
ANATOLY
Kasimov. Don't flounder.
IN THE CLOSET
JACK, impatient, checks his watch.
JACK
Jesus, she's been under too long. Come
on, come on!
ON THE SCREEN
KASIMOV
You're the only one who can help me.
Desperately he tugs at ANATOLY'S jacket. But ANATOLY hits
his hand away and smacks him around the head.
IN THE CLOSET
JACK reacts.
ON THE SCREEN
ANATOLY bends close to KASIMOV.
ANATOLY
C'mon, c'mon, tell the truth...c'mon.
KASIMOV
They'll kill me.
ANATOLY paces up the room, away from KASIMOV.
ANATOLY
You asked for my help. You asked for my
help...come on...
KASIMOV
You're right, of course.
IN THE CLOSET
JACK leans forward.
JACK
The name pal...give us the name.
ON THE SCREEN
KASIMOV
The contact in Minsk..the contact in
Minsk..works in a travel agency.
IN THE CLOSET
JACK
Come on!
ON THE SCREEN
ANATOLY
Come on!
KASIMOV
His name is.....Dimitri Miediev.
ANATOLY
Dimitri Miediev...Dimitri Miediev...
IN THE CLOSET
JACK
Got him.
ON THE SCREEN
Back on screen, ANATOLY places a hand on KASIMOV'S shoulder
as if he had just anointed him.
IN THE CLOSET
In the closet, JACK types the name into a computer and cross
checks -- "MIEDIEV" comes up, then "posting/American
consulate/Kiev."
JACK turns and nods to a WHOREHOUSE WAITRESS in costume in
the closet next to him, dressed in traditional Russian tunic
and virtually no bottom. She quickly leaves.
INT. SHABBY ROOM - NIGHT
We enter the room for the first time as the WAITRESS does.
She's carrying a tray with a bottle of vodka and two shot
glasses.
ANATOLY
Now, we drink.
He pours them out and hands one to KASIMOV.
ANATOLY (CONT'D)
To friends.
KASIMOV
Yes, Anatoly, yes.
JACK
Cheers.
He drinks. He blinks. Something felt funny about that.
Dizzied, KASIMOV swoons and passes out on the floor. ANATOLY
moves to the closet door and opens it.
IN THE CLOSET
ANATOLY reaches up to his face --
--and tears away a mask of flesh. He's no middle aged
Russian mobster, he's ETHAN HUNT, an American in his early
thirties. He gestures to KASIMOV contemptuously. JACK hands
ETHAN a hypodermic kit and he goes quickly back into the
room.
ETHAN
(in English now)
Get rid of this scum.
Immediately, there is activity, and PEOPLE everywhere. TWO
OTHERS come into the room and carry KASIMOV out.
ETHAN goes quickly to the body of the dead woman. He cheeks
the pulse in her neck, shines a penlight in her eye. He
strips the adrenalin kit and jabs the long needle into the
dead woman's thigh. He checks her pulse again, checking a
stopwatch. In about ten seconds, the woman's eyes open.
CLAIRE is her name, a French woman of thirty or so. She half
rolls over, GROANS, and wipes some of the blood from her
mouth.
CLAIRE
Did we get it?
ETHAN
We got it. On your feet.
CLAIRE
I want to sleep. Can I sleep here.
ETHAN
Walk, just walk. Start walking.
CLAIRE
I'm walking.
ETHAN
Talking's good, walking's better.
CLAIRE
Sleeping's better.
Meanwhile, MEN in overalls take apart the room. The ceiling
lifts right off the walls, and the walls themselves start to
come down, revealing the "hotel room" to be an elaborate set
in the middle of an empty warehouse.
JACK comes into the room from the closet. He hands CLAIRE
her jewelry, including a watch and a wedding ring. ETHAN
stops what he's doing, noticing. She looks up at him
questioningly.
CLAIRE
Are you all right Ethan. What's wrong
with you?
ETHAN
If you're gonna do this again Claire,
It's not gonna be on my watch.
CLAIRE
Oh yeah?
JACK comes into the room from the closet. He hands CLAIRE
her jewelry, including a watch and a wedding ring. ETHAN
stops what he's doing, noticing. She looks up at him,
questioningly.
JACK
Claire.
ETHAN
Jack.
She almost unconsciously slips the wedding ring onto her
finger. ETHAN notices. He turns and SHOUTS to the room at
large.
ETHAN
IS THERE ANY PARTICULAR REASON WE'RE NOT
OUT OF HERE YET?!
JACK
Just waiting for you, tubs.
He walks across the room and out the door. CLAIRE, worried,
clutches her hands together, glancing down at her wedding
ring.
We move in on it --
CUT TO:
INT. JET - DAY
-- and come out on another wedding ring, this one on a MAN's
finger. One of several he's drumming on an arm rest in the
plush first class cabin of a commercial airliner. He shoves
some money into his wallet, and as he does so we catch a
fleeting glimpse of a photograph of CLAIRE.
The pilot's voice makes an announcement.
VOICE (O.S.)
Ladies and gentlemen, we have leveled off
at our cruising altitude of thirty-eight
thousand feet-and we should be arriving
in Prague right on schedule.
A FLIGHT ATTENDANT makes her way between the seats, passing
out menus.
FLIGHT ATTENDANT
Would you like to watch a movie Mr Rosen?
A passenger takes one. The ATTENDANT continues on.
FLIGHT ATTENDANT
(CONT'D)
Would you like to watch a movie Mr
Phelps?
The MAN with the wedding ring looks up. JIM PHELPS is in his
mid-forties, good-looking, intense. He's a tired man, and
not just now, it's a profound fatigue. He looks up at the
ATTENDANT and smiles warmly.
PHELPS
No, I prefer the theatre.
A look crosses the FLIGHT ATTENDANT'S face; her tone becomes
stilted.
FLIGHT ATTENDANT
Would you consider the cinema of the
Ukraine?
PHELPS
Perhaps you'd choose one for me.
The ATTENDANT turns and walks away. PHELPS sits back, shakes
a cigarette out of a pack, and taps it nervously on the
armrest.
AT THE FRONT OF THE CABIN.
The FLIGHT ATTENDANT opens a case loaded with video 8
cassettes of feature films. She opens a panel in the top of
the case and withdraws a tape hidden back there.
BACK AT PHELPS' SEAT
The ATTENDANT returns with the tape and hands it to PHELPS.
He takes it without a word and she moves on.
PHELPS reaches down and turns a lever on the support between
his seat and the empty one beside him. He flips up a small
movie screen and angles it toward himself, away from the
other passengers. He puts on a headset, opens a door in the
armrest, and puts the tape in.
He presses play.
ON THE TAPE,
the image of a man comes on. EUGENE KITTRIDGE is fortyish,
but seems permanently stuck in the Nixon era -- horn rimmed
glasses, short short haircut, rather be caught dead than
tieless. But if he catches your eye, he will never, ever
look away. He's seated at a desk, looking into the camera.
KITTRIDGE
(on the tape)
Good morning, Mr. Phelps. The man you're
about to see is Aleksander Golitsyn --
The screen winks and shows an image of GOLITSYN, a burly man
in his forties. The image is herky-jerky videotape,
presumably taken from a concealed camera as GOLITSYN walks
down a foreign street.
KITTRIDGE (O.S.)
-- a former KGB Line X officer now
working the international black market
selling intelligence. This morning, we
learned that Golitsyn has stolen one half
of a CIA NOC list, the list of our non-
official cover agents working in Eastern
Europe.
The screen shows an image of what such a list might look
like, code names and other information scrolling by on a
computer screen at high speed.
KITTRIDGE (O.S.)
For security reasons, the NOC list is
divided into two encoded halves.
Golitsyn already has the cryptonym
portion, which contains agent code names
and targeting areas. This portion is
useless unless combined with the second
half -- the true name list that is kept
in the CIA station in our Embassy in Prague.
The Embassy itself comes on screen, a beautiful old building
at the base of the Charles Bridge, which spans the Vltava
River.
KITTRIDGE (O.S.)
We believe Golitsyn plans to steal the
true name list at an Embassy function
tomorrow night. Your mission, should you
decide to accept it, is to obtain
photographic proof of the theft, apprehend
those involved, and return the stolen
list. I don't have to stress the
importance of this matter, Jim. We're
keeping it internally black. Because of
its urgency, I've already sent to Prague
a team selected from your usual group.
Still photographs come on screen, some of which we're already
seen -- JACK KIEFER, CLAIRE and ETHAN.
KITTRIDGE (O.S.)
Ethan Hunt will of course be your point
man, as usual. He's in Kiev; we're
getting word to him now.
INT. JET - DAY
PHELPS sits back in his seat, closes his eyes, and rubs his
tired brow. KITTRIDGE himself comes back on the tape.
KITTRIDGE (O.S.)
As always, should you or any member of
your IM force be caught or killed, the
Secretary will disavow all knowledge of
your actions. This tape will self-
destruct in five seconds. Good luck,
Jim!
PHELPS inhales deeply --
-- the tape in the armrest starts to smolder, sending up a
plume of wispy smoke --
-- and PHELPS exhales, concealing the plume in a cloud of
cigarette smoke.
CUT TO:
EXT. PRAGUE SAFE HOUSE - DAY
SARAH and HANNA, a German woman in her mid-thirties enter.
Another legend:
PRAGUE
INT. SAFE HOUSE - PRAGUE - DAY
The IMF team's safe house is a sparsely furnished Prague
apartment with a panoramic view of the city.
The IMF team is scattered around the room. Sketches, pads,
overfilled ashtrays and equipment are strewn everywhere.
JACK and SARAH seated next to each other - JACK demonstrating
the VISCO glasses to her. CLAIRE is seated opposite JACK at
the computer. JIM and ETHAN are in the kitchen. HANNAH
taking a roll of black-out curtain through the room.
JACK
Look to your right, then back to me.
There's a camera built right into the
bridge. Whatever you see it sees and
transmits it back here. Can you hear me?
SARAH
Of course I can hear you.
JACK
No, in your...ear piece. You have a
lovely smile (eyes). Can you hear me
now?
SARAH
Loud and clear.
JACK
What's going on?
SARAH
I don't know.
JACK
Why don't you take a look?
SARAH
Jack...that's spying.
JACK
That's what we do isn't it?
SARAH
Jack you're so wicked.
JACK
Too wicked to have a drink later?
SARAH
I think I might just take that look.
ETHAN and JIM PHELPS are in a heated conversation.
ETHAN
Yeah, well, Jim, fact is I've got more
than ninety days leave coming.
PHELPS
A hundred and sixty-seven, I think it is.
Take it all, if you want. After this one.
ETHAN
I thought I'd take some now.
PHELPS
(quietly, to Ethan)
What the hell's made you decide to take
your leave at the worst possible time?
Claire's in a weird mood too.
ETHAN
Oh? What's the problem?
PHELPS
I don't know, I had to go to Chicago
again. You were in Kiev. You tell me.
ETHAN
Tell you what?
PHELPS
When you started noticing your short term
memory loss. What the problem was you
and Claire had in Kiev?
ETHAN
What problem?
PHELPS
(laughs)
Ah, God, forget it. What are we talking
burnout here?
ETHAN
I guess.
PHELPS
Ethan, you can't burn out.
ETHAN
Why not?
PHELPS
Because I can't afford it. And because
you'd burn up before you'd burn out.
CLAIRE, who is at the computer behind them, somehow seems to
be the reference point in the following exchange:
ETHAN
How was Chicago?
PHELPS
Wonderful. Ran into a convention of auto
dealers at the Drake Hotel. You hear the
one about the astronaut who comes back
from the first manned flight to Mars
after two years? His wife's got a year
old kid. So he says "All right. Who was
it? My friend Harry?" She says no. "Oh,
it was my friend Sammy." She says it
wasn't Sammy. "Oh, I suppose it was my
friend Lou." "No, what's the matter,
don't you think I have any friends of my
own?!"
PHELPS laughs. ETHAN doesn't. The back of CLAIRE'S head is
in his line of sight.
PHELPS (CONT'D)
Boy, you really are grim. Come here,
take a look.
He leads ETHAN to the window, which overlooks the city.
EXT. PRAGUE - DAY
ETHAN's POV of Embassy.
INT. SAFE HOUSE - DAY
ETHAN nods.
PHELPS (CONT'D)
Beyond Charles Bridge there is our
Embassy. See it? Tomorrow night, if
anything goes wrong, this guy will steal
the names of our agents in every country
all over Eastern Europe. Up for grabs to
the highest bidders -- third world
terrorists, arms dealers, drug lords --
any and everybody who'd love to get rid
of long term coverts like us, and some
very dear friends among them. If they're
exposed, they'll be executed. Come over
here. Take a lock at this.
CLAIRE, who is working at a computer, has pulled up a
quicktime video image in a box on her screen. In it, an old
edition of the McLaughlin Report, the PBS news show, is
playing.
ETHAN is distracted by it.
INSERT - TELEVISION
SENATOR WALTZER, a bearded, bespectacled man in his forties,
is holding forth:
SENATOR WALTZER
I'll go you one further. I say the CIA
and all its shadow organizations have
become irrelevant at best and
unconstitutional at worst. It's time we
throw a little light on the whole concept
of the Pentagon's "black budget." These
covert agency subgroups have confidential
funding, they report to no one -- who are
these people?! We were living in a
democracy the last time I checked.
BACK TO SCENE
ETHAN looks back at JIM.
ETHAN
You're going to use Walter?
PHELPS
He's our guy.
ETHAN
Isn't he chairing the Armed Services hearing?
PHELPS
Not this week. This week he's flyfishing
at the Oughterard Slough in County
Kildare, with one of our best Irish guides.
ETHAN
He won't be back in a hurry?
PHELPS
No, not in a hurry. What do you think?
You think the plot'll work?
ETHAN
Sure. If the main character does.
PHELPS
If you were me, Ethan, who would you
trust to make him believable?
JACK comes breezing in with a piece of bubble gum.
JACK
Sorry, am I interrupting?
ETHAN
Always.
JACK shows the gum to ETHAN.
JACK
Stick of gum. If you come up against a
lock you can't pick --
Half the gum is red, the other half is green.
JACK (CONT'D)
Red light. Green light. Mash them
together, asta lasagna. Don't get any on
you -- you have five seconds.
He offers the gum to ETHAN.
PHELPS
Are you gonna take it?
CLAIRE glances up from the computer and catches ETHAN's eye.
PHELPS may have caught the glance, but is focused on ETHAN.
ETHAN
(relenting)
Give me the God damn gum.
JACK
Just don't chew it.
PHELPS
Thank you.
CUT TO:
EXT. AMERICAN EMBASSY - NIGHT
The American Embassy glitters beside the Vltava River. Party
at the Embassy tonight.
INT. AN ELEVATOR SHAFT - NIGHT
JACK, wearing black coveralls and slightly odd-looking
eyeglasses (they're called Visco glasses), enters an elevator
shaft through a small door at the base of the wall. He looks
up the shaft, shining a flashlight until he finds what he's
looking for --
-- a gray metal box, protruding from the wall one floor up.
INT. SAFE HOUSE - NIGHT
PHELPS is at a table in the safe house apartment, watching
the bank of monitors HANNAH wired together earlier. The
monitors are alive now, showing various views of the inside
of the Embassy, where the party is going on, and one view of
the elevator shaft.
PHELPS wearing an IMF headset and speaks into the mouthpiece.
PHELPS
Ethan. Jack's inside. Window's open by
twenty-three hundred.
INT. EMBASSY - NIGHT
Inside the Embassy, the party is a formal, tuxedoed affair
that's in full swing on the second floor.
SENATOR WALTZER, the man who was on TV, walks up a grand
staircase, headed in. An AMERICAN DIPLOMAT in a tuxedo
hurries up to him.
DIPLOMAT
How do you do, Senator, I'm Rand Housman,
the Ambassador's aide. If I could just
steer you through the reception line here
--
The DIPLOMAT pilots the SENATOR by one arm, guiding him to a
reception line at the base of the stairs to the party.
DIPLOMAT (CONT'D)
Allow me to introduce Jaroslav Reid, the
director of the National Gallery -- Petr
Brandl, the mayor of Prague --
SARAH, a very attractive young American dressed in an elegant
gown, steps out of the reception line and shakes hands with
WALTZER.
SARAH
I bet you don't remember me, do you, Senator?
SENATOR WALTZER
Of course I do. How are you, Miss
Norman?
He leans in and kisses her on the cheek, and as he does so
SARAH whispers something in his ear.
SARAH
He's in pocket. Under the archway behind me.
Her tone, her words -- we realize she's on the team.
The SENATOR pulls a pair of Visco glasses from his pocket
(and if we didn't know the SENATOR was ETHAN before, this
confirms it), puts them on, and looks up, over her shoulder.
UNDER AN ARCHWAY NEAR THE ENTRANCE,
ALEKSANDER GOLITSYN, the Ukrainian, has just come in from
outside.
INT. SAFE HOUSE - NIGHT
PHELPS sees the SENATOR's point of view of GOLITSYN, through
the glasses, broadcast back to PHELPS' monitor. He speaks
into his microphone.
PHELPS
Sarah, mark the package and go to two.
INT. EMBASSY PARTY - NIGHT
SARAH still has the SENATOR's attention.
SARAH
Your advance team mentioned you'd want a
tour of the facility, so I've gone ahead
and set that up for you --
SENATOR WALTZER
Terrific. Let's get going.
(to the Diplomat)
Will you excuse us?
He slips an arm around SARAH and they walk off, not into the
party, but the other way, toward a staircase that leads
further into the Embassy.
DIPLOMAT
Uh, sir?
INT. ELEVATOR SHAFT - NIGHT
JACK climbs up the elevator shaft, towards the gray metal
box. He just begins to remove the cover when he hears a
noise from above. He looks up and sees the elevator above
him descending.
JACK quickly pulls himself flush against the wall. The
elevator comes down adjacent to him and stops, pinning him
to the wall.
JACK
Great. Come on.
INT. EMBASSY PARTY - NIGHT
As the SENATOR and SARAH pass behind the entering GOLITSYN,
SARAH pulls a small bottle of perfume from her purse. But as
she sprays, she points it slightly to the left, missing
herself and hitting the back of GOLITSYN'S head. He never
notices. They move on and down the flight of stairs.
INT. SAFE HOUSE - NIGHT
JIM PHELPS monitors the Visco views of the party. He looks
to the fourth monitor and checks a view of the party, a jumpy
one, as someone hurrying up stairs.
PHELPS
Hannah. He's marked. Lets go.
INT. EMBASSY PARTY - NIGHT
On a flight of stairs, HANNAH, dressed for the party and
slightly out of breath, hurries up the stairs.
HANNAH
En route.
She also has a pair of Visco glasses, which she trains on the
party below. She pushes a micro switch on the side of her
glasses, activating an electronic filter, which tints the
lenses.
PHELPS (O/S)
Hannah, pull the shade (or - Hannah go to
night vision).
HANNAH鞸 VISCO POV
the party looks the same, but one head in the crowd stands
out. That head is GOLITSYN'S, his hair a fluorescent green
where SARAH sprayed it.
INT. THE DENIED AREA/ELEVATOR BANK - NIGHT
The SENATOR (let's just call him ETHAN) and SARAH come down
the stairs and pass a sign that says "Denied Area --
Political Attaches Only." ETHAN checks his watch. 23:00.
He nods to SARAH, they round a corner, and come to an
elevator at the end of the corridor. A sign in front of it
says "Out of Order." They head for it anyway.
A MARINE GUARD appears from behind a side door, catching them
by surprise.
JACK
Governor's in position. We have the elevator.
GUARD
Excuse me, can I help you?
SARAH
-- which leads directly to the Denied
Area, the only limited access area in the
whole facility.
SARAH flashes an ID at the GUARD and keeps talking.
SARAH (CONT'D)
As you can see. this area has both a
Marine guard and video surveillance, and
is strictly monitored at all times.
She walks up to the thumbprint analyzer on the elevator bank
and slides her thumb inside. The panel lights up and flashes
a message -- "ACCESS DENIED." SARAH and ETHAN trade a look.
SARAH (CONT'D)
(covering)
Senator, don't you have a young man on
your staff named JACK?
She tries the thumb again, Still no soap.
ETHAN
Jack? I believe we did have a young man
named Jack. Not a reliable man, as I
recall. Constantly late or behind in his
work.
Now the GUARD, noticing that Sarah's not being allowed
access, comes closer to them.
GUARD
Excuse me, let me see that ID again!
INT. ELEVATOR SHAFT - NIGHT
JACK is still pinned to the wall by the elevator, listening
to their conversation.
PHELPS (O.S.)
Jack's pinned down Sarah. Should be a
second. Keep dancing.
ETHAN (O.S.)
(with the Senator's southern accent)
We were forced to tie him to my best
stallion and drag him around the barn a
few times.
Finally, the elevator moves down a floor and JACK is freed.
JACK
Relax your crack, Foghorn, I'm workin' on
it.
He quickly opens the gray metal box, revealing a maze of
circuitry. He patches in his computer, climbs on top of the
elevator, and hits the keyboard, beginning to download.
THE LAPTOP
there's a split-screen of SARAH's thumbprint and the ID
picture. JACK downloads her file into the security computer.
INT. THE DENIED AREA/ELEVATOR BANK - NIGHT
Ignoring the GUARD, SARAH turns and slides her thumb into the
thumbprint analyzer once more. The panel glows, this time
the message flashes --
IDENTITY CONFIRMED
-- and the elevator doors slide open briskly.
The GUARD, surprised, now catches sight of the SENATOR.
GUARD
Oh. Sorry, sir.
He snaps a salute. ETHAN and SARAH get into the elevator and
the doors close behind them.
INT. ELEVATOR SHAFT - NIGHT
JACK looks down at the elevator below. Through a grating, he
can see them inside.
JACK
The drink (date) with Sarah is definitely
off.
INT. SAFE HOUSE - NIGHT
PHELPS moves from JACK's view of the elevator car to HANNAH's
view of the party on his video monitors.
PHELPS
(a touch of impatience)
Hannah -- I'm blind again. Hannah.
INT. EMBASSY PARTY - NIGHT
HANNAH, stationed on the second floor of the Embassy, moves
to get a better view of the party. She reacquires GOLITSYN's
glowing head.
HANNAH
He's heading to the denied area.
INT. EMBASSY WORK ROOM - NIGHT
This work room is filled with combination lock filing
cabinets and various computer terminals. ETHAN hands SARAH
his Visco glasses and she crosses the room, placing them
upside down on top of a filing cabinet.
ETHAN straps on a Visco wrist monitor and tunes it in,
switching several times.
ETHAN
(to Sarah)
Higher. Higher.
SARAH
Higher.
ETHAN
Right, right. Good.
SARAH adjusts the glasses.
THROUGH THE GLASSES,
the view of the main computer terminal is upside down, but
clear. Anyone sitting there will be recorded.
INT. SAFE HOUSE - NIGHT
On PHELPS' monitor, we see ETHAN, via his Visco glasses on
the filing cabinet, standing next to the computer. PHELPS
barks out a warning.
PHELPS
Get moving, Ethan. He's rolling to you.
INT. EMBASSY WORK ROOM - NIGHT
ETHAN pushes the elevator button but the elevator is already
moving up.
ETHAN
Jack we're in position.
INT. ELEVATOR SHAFT/WORK ROOM - NIGHT
In a split view, we see both sides of the elevator wall
simultaneously -- on one side, JACK is lying on top of the
rising elevator, on the other side, ETHAN and SARAH are
waiting for it to arrive.
ETHAN
Jack. Jack.
JACK
I didn't touch it.
The elevator stops, the doors open --
-- and GOLITSYN gets on. GOLITSYN descends in the elevator
with JACK on top and ETHAN and SARAH waiting down below!
INT. SAFE HOUSE - NIGHT
PHELPS sees JACK's point of view of the elevator, with
GOLITSYN inside.
PHELPS
(tension rising)
He's in the box, Ethan, he's in the box!
INT. EMBASSY WORK ROOM - NIGHT
ETHAN and SARAH are waiting in front of the elevator, the one
GOLITSYN is about to step off of! ETHAN looks around, for a
place to hide.
ETHAN
OK. Taking Golitsyn's exit. Jack, open
the doors.
SARAH
What about my coat? I'll freeze.
JACK (O.S.)
I don't have it.
INT. SAFE HOUSE - NIGHT
PHELPS whips over to a laptop and starts typing.
PHELPS
Opening the doors. Go under.
He jabs ENTER on his keyboard.
INT. EMBASSY WORK ROOM - NIGHT
The elevator doors WHISK open, revealing the empty shaft
beyond. ETHAN and SARAH jump into the shaft.
INT. ELEVATOR SHAFT - NIGHT
ETHAN and SARAH jump down into the five foot empty space
below the work room floor. Above them, the elevator
continues its descent, with them hiding below. The elevator
drops to just over their heads and stops.
INT. EMBASSY WORK ROOM - NIGHT
GOLITSYN steps off the elevator, crosses the room and slides
a 3.5 computer disk into the computer in the work room.
Through the Visco glasses, we can clearly see him at work,
downloading the vital information.
INT. ELEVATOR SHAFT (BELOW ELEVATOR) - NIGHT
Waiting below the elevator, ETHAN takes off his jacket,
starting to reverse it. He checks his Visco wrist monitor as
GOLITSYN perpetrates the theft. He smiles and speaks into a
microphone.
ETHAN
He's got it. Saved your ass again Jack.
JACK (O.S.)
Give me a break, Pops.
SARAH
Such a nice ass.
JACK (O.S.)
And a lonely ass.
ETHAN
Sarah's reconsidering. Claire, transport
in five minutes.
CLAIRE (O.S.)
Roger that.
INT. ELEVATOR SHAFT (BELOW ELEVATOR) - NIGHT
Back inside, ETHAN strips off his mask and wearing his now
reversed jacket, he and SARAH exit the small door at the base
of the elevator shaft.
EXT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT
JACK rapidly disconnects his equipment. But as he pulls the
final electrical clip from the elevator's wiring, it flashes
and SPARKS.
EXT. EMBASSY - NIGHT
ETHAN and SARAH exit an Embassy service area by the
waterfront and blend into the Embassy crowd, as an amorous
couple.
ETHAN
In position. Jack open the door, let the
package roll.
JACK (O.S.)
Roger that. Opening doors now.
ETHAN
Stairway, you韗e wrapped, go to
transport.
ETHAN鞸 voice comes over HANNAH鞸 earpiece.
HANNAH
En route.
HANNAH breaks off and goes up the stairs.
INT. ELEVATOR - NIGHT
The button marked "ROOF" lights up, seemingly all by itself.
INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT
The car engages with a sharp jolt --
JACK
Hey.
--and starts to rise. JACK looks down, into the elevator
car, through the grate. There韘 no one in it.
INT. SAFE HOUSE - NIGHT
On one of his monitors, PHELPS sees the elevator moving in
the shaft.
PHELPS
Jack, what are you doing?!
INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT
JACK
I韒 not doing anything! (I don韙 have it
either).
INT. SAFE HOUSE - NIGHT
PHELPS is typing at his keyboard and jamming the enter button
but gets no response.
PHELPS
I don韙 have it -- I don韙 have
control!
INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT
JACK鞸 face pales. He looks up, above him, at the
approaching ceiling.
JACK
Uh -- then I have a problem.
INT. EMBASSY WORK ROOM - NIGHT
GOLITSYN pulls out the now-programmed disk from the computer,
slips it in his jacket pocket and heads for the door.
INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT
JACK looks up through his Visco glasses at the approaching
roof, covered with spikes.
EXT. EMBASSY - NIGHT
Through the monitor, ETHAN sees JACK鞸 P.O.V. of the roof of
the building approaching. Fast.
ETHAN
Cut the power. Cut the power Jack. Do
you hear me.
INT. ELEVATOR SHAFT (ABOVE ELEVATOR) - NIGHT
On top of the elevator, JACK has ripped open the control
panel again and is frantically trying to adjust wires to get
the thing to stop.
He swears, his fingers fumble, he works faster and faster.
He looks up. The roof of the building is nearly upon him.
ETHAN (O.S.)
Come on, Jack, come on.
JACK looks up again, he cringes, he covers his head with his
hands, he SCREAMS --
--and he韘 crushed to death against the roof.
EXT. EMBASSY - NIGHT
ETHAN is staring at the static on the monitor that once was
JACK鞸 signal.
ETHAN
Jack. Jack.
He closes his eyes, knowing what that means.
INT. SAFE HOUSE - NIGHT
PHELPS also sees the static.
PHELPS
Man down. Stay where you are. I韒 on my
way.
He gets up and races out of the apartment.
INT. EMBASSY WORK ROOM - NIGHT
GOLITSYN, who now has the disk, jabs again and again at the
elevator button but it won韙 even light up. He studies the
elevator doors and jumps into the shaft, just as ETHAN and
SARAH did moments before.
He hits the floor of the elevator shaft and exits the small
door at the shaft韘 base.
EXT. PRAGUE SAFE HOUSE - NIGHT
PHELPS hurries towards the bridge.
PHELPS
En route.
EXT. CHARLES BRIDGE - NIGHT
PHELPS dashes onto the Charles Bridge and heads across the
river, toward the Embassy. He throws a look back, over his
shoulder. Paranoia韘 setting in.
EXT. EMBASSY (AS SEEN FROM CHARLES BRIDGE) - NIGHT
Outside the Embassy, GOLITSYN escapes, pushing through the
service area door and racing past a DRUNKEN COUPLE who are in
the midst of a lover韘 quarrel, in Russian.
Pan past the embankment and onto the bridge where PHELPS is
still racing to meet ETHAN. But he stops suddenly, as if
hearing something and looks behind him, at the deepening
gloom.
EXT. EMBASSY - NIGHT
ETHAN and SARAH hear PHELP鞸 voice over the monitor.
SARAH
The package is in the open.
ETHAN
Jim. Jim. He韘 in the open.
PHELPS (O.S.)
I韛e got a shadow.
ETHAN
Can you lose him?
PHELPS (O.S.)
No. Abort.
Over ETHAN韘 shoulder, SARAH sees GOLITSYN getting away. Fog
starts to roll over the river towards the bridge.
SARAH
Ethan. He韘 out of pocket.
ETHAN
(to Phelps)
Jim we can韙.
PHELPS (O.S.)
Abort. That韘 an order.
ETHAN
Negative, Golitsyn韘 on the move.
INT. GETAWAY CAR - NIGHT
Seated in the getaway car, CLAIRE listens to JIM and ETHAN
argue.
PHELPS (O.S.)
No, damn it, no, I said ABORT!
EXT. EMBASSY - NIGHT
Outside the Embassy, SARAH and ETHAN argue.
ETHAN
Sarah eye on the package. Jim, I韒
coming to you.
SARAH
Jim gave an abort, we should walk
away.
ETHAN
No, we韗e going to recover the disk,
understand?! Now move!
ETHAN takes off for the bridge, leaving SARAH to shadow
GOLITSYN.
EXT. PARKING AREA - NIGHT
HANNAH hurries toward the getaway vehicle.
EXT. RESIDENTIAL STREET - NIGHT
ETHAN moves to the bridge stairs.
PHELPS (O.S.)
Where are you?
ETHAN
About two hundred yards from the bridge.
PHELPS (O.S.)
They韗e covering this frequency, Ethan.
Cut all radio communications. Repeat.
Cut all radio communications.
ETHAN continues to run toward the stairs to the bridge. Past
CLAIRE who sits in the getaway car. He looks on his monitor
and again sees PHELPS?POV. Only ominous silence. Phelps is
looking back over his shoulder. The bridge is deserted.
EXT. EMBANKMENT - NIGHT
SARAH follows GOLITSYN as he hurries toward the shore, where
a cobblestone promenade runs along the river. He disappears
into the fog at the edge of the river.
EXT. STAIRS TO BRIDGE - NIGHT
ETHAN checks his monitor again.
THE MONITOR
PHELPS?point of view changes radically as his head swivels
on the darkened bridge. He whirls again, looking over his
shoulder and this time the barrel of a gun is visible,
pointing at him and before PHELPS has a chance to react a
GUNSHOT CRACKLES over the monitor.
The point of view goes crazy for a moment, then over and down
to a bloody hole in his own chest.
His head rocks again, then goes over the side of the bridge
and makes the long, hard fall into the river below.
EXT. STAIRS TO BRIDGE - NIGHT
ETHAN韘 face goes white with shock.
ETHAN
JIM!
EXT. CHARLES BRIDGE - NIGHT
He races up the rest of the stairs to the bridge but there韘
no sign of PHELPS.
ETHAN runs to the railing and looks down into the river but
sees only dark, choppy waters below, now becoming
obscured in the gathering fog.
He turns and looks to the embankment. He can faintly see
GOLITSYN, hurrying along the promenade. ETHAN gives chase.
EXT. PARKING AREA - NIGHT
ETHAN runs towards the getaway car, reaching a vantage point
on the top of the stairs, he can see CLAIRE鞸 outline,
visible in the driver韘 seat. But as he descends the stairs
--
--the car explodes and bursts into flames.
The force of the blast knocks ETHAN back.
ETHAN
CLAIRE!
He watches the burning car in stunned silence for a moment, a
stunned CROWD starts to gather.
Remembering SARAH, he rushes down the stairs towards the
embankment.
EXT. EMBANKMENT - NIGHT
SARAH comes out of the fog near the riverbank and sees
GOLITSYN again, slowing down. A MAN comes out of the fog an
seems to ask GOLITSYN for a light.
SARAH draws closer. Behind her, the DRUNKEN COUPLE seems to
be hanging with her for some reason.
EXT. STAIRS FROM BRIDGE - NIGHT
ETHAN continues towards the embankment.
EXT. EMBANKMENT - NIGHT
SARAH is almost to GOLITSYN. Suddenly, the MAN in front of
GOLITSYN pulls him towards him. Sensing something wrong,
SARAH quickens her pace. The MAN is now hunched over
GOLITSYN, facing away from SARAH, going through GOLITSYN韘
pockets.
The figure finds what it韘 looking for -- the disk -- and
takes it. SARAH comes closer --
-- and the figure whirls. It brings a knife up sharply,
plunges it into her chest and slinks away out of sight.
ANGLE
ETHAN races around the corner onto the embankment. He bursts
out of the fog, just in time to see SARAH fall to her knees,
over GOLITSYN韘 body. ETHAN sees the knife in her chest and
GASPS.
He pulls the knife out of SARAH, who is close to death. He
looks at it -- it is a black Teflon knife with a serrated
edge.
BEHIND ETHAN
The DRUNKEN COUPLE seem drunk no more. In fact, they韗e
watching ETHAN. Through the fog and night, they see him
leaning over SARAH, holding the knife in his hands.
AT THE BODIES
SARAH goes still. ETHAN lays her down, turns the other body
over and sees that it is GOLITSYN. He quickly begins
rummaging through his pockets.
ETHAN hear police sirens and sees...
ANGLE
A Prague police boat, SIREN wailing, arrives at the dock in
front of the Embassy. The DRUNKEN MAN and WOMAN stop
suddenly.
As THREE POLICE leap off the boat and race toward the
explosion, ETHAN leaps over the gate and races up the alley
and out of sight.
EXT. STREET -- PHONE BOOTH - NIGHT
ETHAN unscrews the mouthpiece of a payphone receiver. He韘
holding a flat piece of metal with six prongs on it, a
modernist cockroach. He CLICKS the cockroach into the guts
of the phone韘 wiring, piercing it with its little prongs.
He screws the mouthpiece back on, holds the phone韘 tongue
down for a second, releases it and listens. He has a dial
tone. Now he punches in a fourteen digit number he knows by
heart.
After a moment, a FLAT VOICE comes on the other side.
FLAT VOICE (O.S.)
Satcom seven.
ETHAN
Central Europe. Unsecured.
FLAT VOICE (O.S.)
Designator?
ETHAN
Bravo Echo one one.
FLAT VOICE (O.S.)
Switching.
There is a long pause and then familiar voice comes on the
line.
KITTRIDGE (O.S.)
This is Kittridge.
ETHAN
Go secure.
Pause. A funny series of CLICKS comes over the line.
KITTRIDGE (O.S.)
Go ahead.
ETHAN
They韗e dead.
KITTRIDGE (O.S.)
Who韘 dead?
ETHAN
My team. Claire, Jack, even Jim -
- Hannah, maybe, I -- don韙 know
KITTRIDGE (O.S.)
Are you damaged?
ETHAN
They knew we were coming. Golitsyn韘
dead too. The disk is gone.
KITTRIDGE (O.S.)
Are you intact?
ETHAN
Do you read me? The list is in the open!
KITTRIDGE (O.S.)
Let's just bring you in safely, and then
we'll worry about that, okay? Were you
followed?
ETHAN closes his eyes. KITTRIDGE鞸 voice is strong and
reassuring and he needs that right now.
ETHAN
I don韙 think so.
KITTRIDGE (O.S.)
Don韙 think, be sure. Are you clean?
ETHAN
Yes.
KITTRIDGE (O.S.)
Location green. One hour. I韑l be there
myself.
ETHAN
You韗e in Prague?
KITTRIDGE (O.S.)
Heard a lot about you, Hunt. Don韙
disappoint me.
ETHAN
No sir.
KITTRIDGE (O.S.)
One hour.
He hangs up. ETHAN does the same. He stares at the phone
for a moment, thinking. He checks his watch.
EXT. STREET - NIGHT
ETHAN steps out of the phone booth and starts down the
street. Every face seems to be starring at him now, every
sound is menacing. He pulls his coat in tight, shoves his
hands in his pockets and walks among the crowd.
EXT. OLD TOWN SQUARE - NIGHT
ETHAN makes his way past the old town clock, a towering,
gothic structure and into a plaza, surrounded mostly by
residential buildings.
ETHAN鞸 POV
Straight across from him is a glass enclosed restaurant built
on the portico of an old palace.
Brilliantly lit up from inside, the restaurant positively
shimmers, every table visible from everywhere in the plaza.
INT. RESTAURANT - NIGHT
ETHAN'S POV
ETHAN walks in the glass front doors, right next to an
enormous fish tank, part of the restaurant's exterior wall.
He scans the clientele carefully -- maybe a dozen PATRONS are
scattered around.
EUGENE KITTRIDGE is seated at a table in the middle. He and
ETHAN make eye contact. ETHAN walks to the table, a couple
of quick, seemingly cursory glances around the room as he
goes. KITTRIDGE has been working on a pretty good-sized
lobster. He rises to greet ETHAN and they sit.
KITTRIDGE
I can't tell you how sorry I am. I know
how much Jim in particular meant to you,
Ethan. Personally as well as professionally.
ETHAN
Yeah.
He spots a stack of documents on the table.
ETHAN picks them up. There's a Canadian picture bearing
ETHAN photo and the name Phillipe Doucette, credit cards,
driver's license, etc.
KITTRIDGE
Passport, visas - you know the drill.
We'll work the exfiltration thru Canada,
debrief you at Langley. Throw the Prague
police a bone, you know toss them a few
suspects. Follow me?
ETHAN
Yeah. I follow you.
KITTRIDGE
We've lost enough agents for one night.
ETHAN
You mean I've lost enough agents for one
night.
KITTRIDGE seems to be at the point of saying one thing, then,
carefully:
KITTRIDGE
You seem hell bent on blaming yourself,
Ethan.
ETHAN
Who else is left?
KITTRIDGE
Yes. I see your point.
ETHAN
Why was there another team?
KITTRIDGE
What?
ETHAN
Of IMF agents. At the Embassy. Tonight.
KITTRIDGE
I don't quite follow you.
ETHAN
Let's see if you can follow me around
this room.
(eyes moving around the room)
The drunk Russians on the embankment at 7
and 8 o'clock...The couple waltzing
around me at the Embassy at 9 and 11.
The waiter behind Hannah at the top of
the staircase - Bowtie, 12 o'clock. The
other IMF team. You're worried about me.
Why?
KITTRIDGE
(a tight little smile)
You're right. Maybe this'll save some
time.
The figures around the room have grown restless. KITTRIDGE
tries to indicate that it's okay. He pulls some papers out
of his jacket.
KITTRIDGE (CONT'D)
For a little over two years now we've
been spotting serious blowback in IMF
operations. We have a penetration. The
other day we decoded a message on the
Internet from a Czech we know as "Max."
ETHAN
The arms dealer.
KITTRIDGE
That's right. Max, it seems, has two
unique gifts -- a capacity for anonymity
and for corrupting susceptible agents.
This time he's gotten to someone on the
inside - he's put himself in a position
to buy our NOC list. An operation he
referred to as "Job 314". The job he
thought Golitsyn was doing tonight.
ETHAN
But the list Golitsyn stole was a decoy.
KITTRIDGE
Correct the actual list is safe at
Langley. "Golitsyn" was a lightning rod,
one of ours.
ETHAN
This whole operation was a molehunt.
KITTRIDGE
Yes, the mole's deep inside. And -- like
you said. You survived.
ETHAN stares at him levelly.
KITTRIDGE (CONT'D)
I want to show you something, Ethan.
He now shoves the papers across the table. They're xeroxed
copies of a Wisconsin bank account in the name of DONALD and
MARGARET ETHAN HUNT. It shows a balance of $127, 000.
KITTRIDGE (CONT'D)
Since your father's death, your family's
farm has been in sub-chapter S and now,
suddenly, they're flush with over a
hundred and twenty grand in the bank.
Dad's illness was supposed to have wiped
out the bank account -- dying slowly in
America after all, can be a very
expensive proposition Ethan. So, why
don't we go quietly out of here onto the
plane...
ETHAN
How about if we just go quietly into the
bathroom and I wash your mouth out with
soap - you pathetic button down
bureaucratic asshole.
KITTRIDGE (CONT'D)
Ethan, I can understand you're very
upset.
ETHAN
Kitteridge, you've never seen me very
upset.
ETHAN takes something from his jacket pocket. While
KITTRIDGE talks, ETHAN unwraps whatever is in his hand.
KITTRIDGE
All right, enough is enough Hunt. You've
bribed, cajoled, killed - and relied on
intimate loyalties to get away with it.
You're determined to shake hands with the
devil and I'm going to make sure you do
it in hell.
We see what ETHAN holds in his hand -- it's the piece of
bubble gum, half red, half green. He squeezes the gum,
mushing the two sides together.
ETHAN lashes out, swatting KITTRIDGE'S glass of wine off the
table in one quick motion. As he does, he hurls the piece of
gum.
Diners look up, startled at the sound of the breaking wine
glass. KITTRIDGE follows the trajectory of the glass --
-- and sees the piece of gum, stuck to the tank. His eyes
widen. KA BOOM!
The tiny piece of plastique explodes, SHATTERING the fish
tank. A hundred gallons of water flow over the MAN and
WOMAN, knocking them to the ground.
At the same time, ETHAN bolts for the door.
EXT. OLD TOWN SQUARE - NIGHT
ETHAN races out of the restaurant and takes off, into the
deserted square.
EXT. SAFE HOUSE - ENTRYWAY - NIGHT
Silence. ETHAN enters the darkened entry.
INT. SAFE HOUSE STAIRWELL - NIGHT
ETHAN glances up at the stairwell. Naked light bulbs
illuminate the way up. He slips off his jacket and shirt,
then puts his jacket back on.
INT. SAFE HOUSE STAIRWELL - MOMENTS LATER - NIGHT
ETHAN unscrews a bulb. He crushes the bulb in his shirt and
scatters the glass fragments on the steps. He climbs to the
next bulb.
INT. SAFE HOUSE - DOORWAY - NIGHT
At the now-darkened door to the apartment, there's the soft
sound of another bulb being POPPED in cloth, glass fragments
dropping and ETHAN'S at the door.
INT. SAFE HOUSE - NIGHT
In the darkened safe house, ETHAN goes to a vase with
flowers, picks it up and unscrews the bottom, retrieving a
Sig Sauer automatic. He moves through the rooms, checking
them as he goes.
INT. SAFE HOUSE BATHROOM - NIGHT
ETHAN checks the shower, then goes to his shaving kit,
pulling out a shaving cream can and a hairspray can. He
unscrews the bottoms, retrieving cash in various
denominations from various countries and a couple of
passports.
As he pockets them, he catches sight of himself in the
mirror. He's a mess. He splashes water on his face.
INT. SAFE HOUSE KITCHEN - NIGHT
ETHAN greedily tears the cap off a bottle of mineral water
and proceeds to guzzle it as if he was dying of thirst.
INT. SAFE HOUSE - NIGHT
He comes back into the living room. Still drinking, he
notices flickering lights on the other side of the room, the
static from the four monitors PHELPS was watching. One by
one, he switches them off.
THE LAPTOP
JACK had been using lies closed at his abandoned desk. ETHAN
wakes it up.
The computer emits a DIAL TONE, then STATIC as it hits its
connection. It prompts ETHAN along:
SELECT USENET GROUP
ETHAN TYPES IN
job 314
ETHAN
Job. Job 3:14. March fourteen. Job 31
March.
The computer replies:
SEARCHING STRING NOT FOUND
ETHAN tries again:
max.com
The answer:
SEARCH STRING NOT FOUND
He tries a few more, quickly -- "job," "jobs," "joblist.com,"
but nothing comes up. He tries something else -- "scroll
usenet groups."
The computer scrolls names of bulletin boards at a dizzying
speed, by the hundreds. That's not going anywhere.
ETHAN pauses, slaking his bottomless thirst and trying to
figure out what permutation of "job 314" he should add to the
others on his computer screen. He MUMBLES.
ETHAN
Job three fourteen. Job --
(a realization,
the Biblical pronunciation)
It's Job!
He rummages around on the desk, checks the bookshelf and
finds a Gideon Bible. He turns to Job 3:14 and reads the
Bible passage "Kings and Counsellors..."
He thinks for another moment, then punches back into the
Internet and under the command "Select Usenet Group" he
types:
BIBLE
The computer replies:
126 ENTRIES FOUND, SPECIFY GROUP
ETHAN:
BOOK OF JOB
The computer presents a multi-colored screen of religious
icons and artwork with an accompanying message:
WELCOME TO THE BOOK OF JOB DISCUSSION
GROUP. WHICH CHAPTER AND VERSE DO
YOU WISH TO POST YOUR ENTRY UNDER?
ETHAN types his answer "Job 3:14" and the screen presents a
"stickie" for him to write his message on. He does:
ETHAN
Max -- Goods tainted. Consider extremely
hazardous. DO NOT USE. Fate will be
that of kings and counsellors who built
for themselves palaces now lying in
ruins. Must meet to discuss a.s.a.p.
ANGLE
A rhythmic CRUNCHING sound and from the darkness on the other
side of the room, PHELPS staggers toward him, wet and muddy,
his middle a hopelessly bloody mess. He looks like he's
dying on his feet. ETHAN freezes, appalled.
PHELPS
Ethan, what are you doing?
ETHAN tries to speak but nothing will come out.
PHELPS (CONT'D)
I needed you, Ethan. 1 needed you on the
bridge, and -- you weren't there. Ethan?
Ethan?
ETHAN reaches out to grab PHELPS but can't seem to touch him.
PHELPS suddenly vanishes into thin air, ETHAN awakens from
the dream and finds himself leaping to his feet, gun cocked
and pointed at --
ANGLE
It's CLAIRE.
ETHAN
What are you doing here?!
CLAIRE freezes, her hands half-raised.
CLAIRE
(carefully)
Ethan -- Ethan, it's okay. It's Claire.
Ethan what's wrong with you?
ETHAN
Don't move.
Her right hand has moved a fraction. She freezes again.
ETHAN
You were in the car!
CLAIRE
I wasn't. I heard that Jim was in
trouble on the radio. He said someone
was...
ETHAN
Shut up! I saw you. You were in the
car.
CLAIRE
No, I got out of the car and I ran to the
bridge.
ETHAN
Don't give me that! I was on the bridge.
CLAIRE
What happened to Jim?
ETHAN
There was nobody on the bridge.
CLAIRE
What happened to Jim?
Ethan grabs her wrists, shouting.
ETHAN
Dead. Dead. Dead! Wake up, Claire!
Jim's dead, they're dead. They're all
dead!
ETHAN releases her wrists.
CLAIRE
(mumbling)
They're dead. Jim's dead.
ETHAN
Take off your coat.
CLAIRE
What?
ETHAN
Take off your God damn coat!
He grabs a sleeve and literally tears the coat off her, half-
spinning her around. The coat hits the floor like a dead
body. CLAIRE'S instinctive move is to cover her chest.
CLAIRE begins to shiver. ETHAN circles her, runs his hand
cursorily across her body. It accentuates CLAIRE'S
shivering.
ETHAN (CONT'D)
Where were you?
CLAIRE
I walked away. He said abort. He was
gone so I walked away.
ETHAN
That was four hours ago! Who sent you?
Did they send you here?
CLAIRE
(slowly)
Who is "they?"
ETHAN
Did they send you...Did they send you?
CLAIRE
Who is they, who is they?
ETHAN grabs her by the wrists.
ETHAN
Who sent you?! Who sent you?
CLAIRE
(screaming)
No one sent me! We're supposed to be
back here at four o'clock, four o'clock,
if we abort, we don't return here until
four o'clock, 0-four hundred, four am,
four o'clock --!
She sags. A moment. Then the clock begins to chime -- BONG,
BONG, BONG, BONG. In the wake of the bells' reverb, ETHAN
releases his grip on her wrists.
INT. SAFE HOUSE - LATER THE SAME NIGHT
ETHAN sits in front of the computer, staring blankly at it,
still waiting for a response. CLAIRE sitting on the end of
the bed. Dawn approaches, it's very, very quiet.
CLAIRE
Why haven't they brought us in yet?
ETHAN
I've been disavowed. They think I killed
Jim and everyone else. Somehow a hundred
thousand dollars found its way into my
parents' bank account. Kittridge assumes
I'm a mole they've been tracing and I've
been in the employ of an arms dealer,
Max, for the last two years, to get him
our NOC list.
A long moment while she stares at ETHAN's back.
CLAIRE
What are you going to do?
ETHAN
I'm going to get it for him. Whoever the
mole is, I think goes by the name of Job,
at least part of the time. 1 can't find
him, but if he knows 1 have the NOC list,
he'll find me.
CLAIRE
Ethan, you're not making sense. Let me
go in and talk to Kittridge. I'm going
to tell him you had nothing to do...
ETHAN
Claire, Claire, Claire, if you're not
dead, he's going to assume you're with
me.
The computer blinks and makes a noise - ETHAN goes to it.
THE COMPUTER SCREEN
Blinking -- "MESSAGE WAITING." ETHAN hurries over and clicks
on the message box. The screen blinks and the message shows
up:
? JOB - CORNER OF NEKAZANKA AND PRlKOPY ONE P.M.
? BUY A PACKET OF DUNHILL
? AND ASK THE MAN SITTING ON THE BUS
? STOP BENCH FOR A MATCH
CLAIRE looks to ETHAN.
CLAIRE
The message is for Job.
ETHAN
I'm going to answer it.
EXT. STREET BY BANK/FLORENC BUS STOP - DAY
ETHAN arrives at the bus stop outside the Savoy Arcade. A
MAN in a black wind-breaker sits on the bench, his back to
ETHAN.
ETHAN
Excuse me, could I trouble you for a
match?
Without turning, the MAN offers up a box of matches. As
ETHAN takes them, TWO MEN from behind take him by either arm
and escort him into a car which has just pulled up.
INT. CAR - DAY
ETHAN slides into the back seat, between the TWO MEN.
MATTHIAS, the man on the left, holds up a black hood. He
extends it to ETHAN, who doesn't take it.
MATTHIAS
Would you remove your hat please?
ETHAN
Why?
MATTHIAS
You wish to meet Max? This is the price
of admission.
Reluctantly, Ethan pulls the hood over his head and the car
takes off.
INT. MAX'S APARTMENT - DAY
The black hood still on his head, ETHAN has trouble sitting
upright. He's before a desk, in an apartment somewhere in
the city -- it's impossible to tell where, as the blinds are
drawn. The place is roomy and lavishly furnished --
expensive Oriental rugs, well-chosen objects of art.
Somewhere down the block, a dog BARKS, steadily, every few
seconds. In the hallway outside the apartment door, someone
is VACUUMING. MATTHIAS and the OTHER MAN are nearby.
ETHAN
I thought I was going to see Max.
MATTHIAS
You misunderstood. No one sees Max.
ETHAN
Then what am I doing here?
MATTHIAS
Allowing Max to see you and hear what
you've got to say.
ETHAN
I don't communicate very well through a
shroud.
MATTHIAS
If Max doesn't like what you have to say,
you'll be wearing that shroud
indefinitely.
ETHAN
I'm willing to take the chance.
MATTHIAS
Very well.
MAX'S figure into frame. MATTHIAS removes ETHAN's hood.
When it comes off ETHAN finds himself looking up at a tall
woman of indeterminate age. She's handsome to the point of
severity.
MAX
Who are you and what are you doing here?
ETHAN
I need one hundred thousand dollars.
MAX
Really? And you thought if you simply
showed up I might give it to you?
ETHAN
Why not? You gave Job a hundred and
twenty five thousand.
MAX
The penny drops. You are not Job. Yes,
Job is not given to quoting Scripture in
his communications. And there was its
tone -- aggressive but playful. Job is
not playful. So you're something of a
paradox.
ETHAN
That depends.
MAX
On what?
ETHAN
Whether you like a paradox. I want a
hundred and fifty thousand dollars.
MAX
It's quite out of the question.
ETHAN
The disk Job sold you is worthless. It's
bait, part of an internal molehunt.
MAX
And how might you know that? Are you
another Company man?
ETHAN
Like Job?
MAX
Ah, but, we're asking about you.
ETHAN
I'm NOC. Was. Now disavowed.
MAX
Why, may I ask?
ETHAN
That's the question I want to ask Job.
MAX
I don't know Job any more than he knows
me.
ETHAN
Even so, I'm sure you could arrange an
introduction.
MAX
Why should I?
ETHAN
Because I can deliver the actual NOC
list. The one you have is not only
worthless, it's certain to be equipped
with a homing device to pinpoint your
exact location.
MAX
It's easy to say the disk is worthless
when you say I can't look at the
information and see if it's worthless.
Not a tenable position, sir.
ETHAN
Okay, boot it up and in anywhere from
thirty seconds to ten minutes you're
gonna have Virginia farm boys hopping
around you like jackrabbits.
MAX
(Pause.)
Mm - Hmmm...
ETHAN
Tell you what. How good's the RF scanner
you used in the car?
MAX
Very good.
ETHAN
Okay, use it. But I suggest pack up
first.
ANGLE
MATTHIAS boots up. There's a little musical noise and the
screen brightens. The computer WHIRS and CLICKS and a
complex list of names, addresses, phone numbers and other
personal information scrolls by. But Matthias is watching
the digital read-out on the RF scanner.
MATTHIAS
Twenty-six, twenty-seven. So far so
good.
MAX
That's not so good for you, my friend.
On the scanner, the digital read-out is now in the thirties.
MATTHIAS
Thirty-two and change.
MAX
(to Ethan)
Doesn't mean it's a signal. Could just
be the hard drive heating up.
She looks from the scanner to ETHAN as if she's trying to
make up her mind about something.
MATTHIAS
Forty-four. Forty-five.
ETHAN
I'd say you've got about two minutes.
MAX still doubts it. The OTHER MAN goes to the windows --
--nothing happens. He opens the French doors that lead out
onto a balcony.
EXT. MAX'S APARTMENT - BALCONY - DAY
The OTHER MAN comes out on the balcony. Nothing out here but
a beautiful day. He walks to the railing and looks down at
the street.
Down below, the dog that's still barking is tied to a street
sign. WOOF. WOOF. WOOF. Abruptly, it stops.
INT. MAX'S APARTMENT - DAY
Back inside:
MATTHIAS
Fifty-seven. Fifty-nine.
EXT. MAX'S APARTMENT
A pollution control van and a taxi arrive amidst other street
activity. KITTRIDGE and the FEMALE CZECH AGENT exit the taxi
as BARNES and TWO OTHER UNDERCOVER MALE IMF agents leave the
van.
INT. MAX'S BUILDING - LOBBY - DAY
Led by KITTRIDGE, the FIVE IMF AGENTS wearing Kevlar-lined
trenchcoats creep through the lobby of the building and hit
the stairs. They climb them silently.
INT. MAX'S BUILDING HALLWAY - DAY
A CLEANING WOMAN is vacuuming the hall carpeting when the
AGENTS come up the stairs, guns drawn. Her jaw drops and she
turns off the vacuum cleaner.
FEMALE IMF
(in czech)
Switch it on. Keep cleaning.
KITTRIDGE looks at her sharply and gestures. She turns the
vacuum back on. They reach the door of a certain apartment
and --
INT. APARTMENT - DAY
-- KICK through it. The AGENTS swarm into MAX'S apartment,
guns waving in all directions. KITTRIDGE sweeps in between
them and takes command of the place --
--but there's nobody here. TWO AGENTS race into the bedroom,
and just as quickly out again.
EXT. POWDER TOWER - TOP SHOT - DAY
MAX, ETHAN, MATTHIAS and the OTHER MAN move quickly across
the bridge that connects Max's apartment to the tower.
EXT. MAX'S APARTMENT BALCONY - DAY
KITTRIDGE kicks open the door to the balcony, comes outside,
and looks around. Nobody in sight.
KITTRIDGE
GOD D-
INT. MAX'S CAR - ETHAN AND MAX - DAY
MAX
Oh dear, Gunther will never let me use
one of his apartments again.
(turns to Ethan)
Phew, sorry I doubted you, dear boy.
You're a good sport. Do accept the
compliment.
ETHAN
Thanks, Max. Or is it Maxine?
INT. CAR - MOVING - DAY
MAX
I don't have to tell you what a comfort
anonymity can be in my profession -- like
a warm blanket.
(abruptly)
My deal with Job was subject to a
successful boot scan. Obviously it
didn't pass muster. Deal's off.
ETHAN
What was your deal with Job?
MAX
Six million dollars. I'll give you the
same. But I want the complete list now,
not just Eastern Europe. I won't do this
piecemeal, it's too dangerous. I want
the entire list, the true name of every
non-official cover agent throughout the
world.
ETHAN
Ten million. Ten million in negotiable
U.S. Treasury certificates, in bearer
form, coupons attached. And one more
thing -- your personal assurance that Job
will be at the exchange.
MAX
Done. Bring it to me in London. I want
it by the end of the week.
ETHAN
How will you make sure Job will be there?
MAX
How will you make sure I'll have the list
in three days? It's been a delight. Now
where can I drop you dear boy?
ETHAN
I'm not being dropped anywhere without my
money.
MAX manages to laugh without coughing. Then, with an
admonishing forefinger:
MAX
I'm going to have to front you
personally. Don't lose that money
without losing your life.
ETHAN
I wouldn't dream of it.
MAX settles back and regards ETHAN. A theatrical sigh. She
fancies this guy.
CUT TO:
INT. MAX'S APARTMENT - DAY
KITTRIDGE waits on the balcony for his AGENTS to complete
their search. HARRY BARNES, a middle-aged, gray suited,
somewhat gray-faced bureaucrat, comes to join Kittridge.
KITTRIDGE
The man's gone black, Barnes. He's under
until he decides to surface.
BARNES
Look we can use someone from the Embassy
and we can get the local authorities
involved. Close off his transportation.
KITTRIDGE
What can we do, Barnes? Put a guy at the
airport? How many identities do you
think Hunt has? How many times has he
slipped past custom, in how many
countries? These guys are trained to be
ghosts. We taught them how to do it, for
Christ's sake!
BARNES
So what do you suggest?
KITTRIDGE
Let's not waste time chasing him. Make
him come to us. Everybody韘 got pressure
points. Find out something that's
important to him personally and you
squeeze.
CUT TO:
INT. SAFE HOUSE - DAY
ETHAN enters the living room. CLAIRE walks out of the
bedroom holding a gun.
ETHAN reaches into his jacket and holds up a hefty wad of
currency.
CLAIRE
Max made a deal with you?
ETHAN
I deliver the NOC list, Max delivers Job.
CLAIRE
We've got seventy-five rounds for your
Glock 9, but only twenty for the Sig
Sauer, one pair of Visco glasses with
monitor, plenty of passports. You said
it yourself -- if I'm not dead, I'm with
you.
ETHAN
You're sure about this?
CLAIRE
Jim was my husband. I want to know who
killed him. ( ALT ) I want to get the son
of a bitch who did this.
ETHAN
We need help, and we don't have time.
They have to be local.
CLAIRE
What kind of help?
INT. SAFE HOUSE - MOMENTS LATER - DAY
The KY57 crypto phone, a black box with an ordinary phone
receiver in the top, THUNKS down on the table.
ETHAN plugs the phone cable from his laptop into the back.
The green display on top of the KY57 dials a number and makes
a computer connection.
On the computer, the screen says:
I.M.F. PERSONNEL DATABASE
ENTER PASSWORD NOW
ETHAN types a password and the screen asks him for the
CATEGORY?
He types in a single word.
DISAVOWED
DISSOLVE TO:
INT. TRAIN - STATEROOM - NIGHT
The word "disavowed" dissolves slowly over the stateroom of a
high speed train, where the newly assembled IM force has
gathered around a table -- KRIEGER, a dangerous-looking
Frenchman of forty or so, LUTHER STICKELL, a muscular, soft-
spoken American in his mid-thirties. ETHAN, and CLAIRE.
LUTHER regards the others warily.
ETHAN
Simple game. Four players.
(points to Krieger)
Exfil opens the pocket --
(and to Luther)
-- cyber ops lifts the wallet.
KRIEGER
Bank?
ETHAN
IMF mainframe.
KRIEGER
(after a moment)
Where exactly is it?
ETHAN
In Langley.
LUTHER
In Langley? The one in Virginia, Langley?
KRIEGER
Inside CIA headquarters at Langley.
ETHAN nods. KRIEGER turns to CLAIRE.
KRIEGER (CONT'D)
Is he serious?
CLAIRE
Always.
KRIEGER
If we're going to Virginia, why don't we
drop by Fort Knox? I can fly a
helicopter right in through the lobby and
set it down inside the vault and it will
be a hell of a lot easier than breaking
into the God damn CIA.
LUTHER
What are we downloading?
ETHAN
Information.
LUTHER
What kind?
ETHAN
Profitable.
CLAIRE
Payment on delivery.
LUTHER
I don't know. This I don't know.
ETHAN
This doesn't sound like the Luther
Stickell I've heard of. What'd they used
to call you? The Net Ranger? Phineas
Phreak? The only man alive who actually
hacked NATO Ghostcom.
LUTHER
There was never any physical evidence
that I had anything to do with that..
that..
(correcting himself)
With that exceptional piece of work.
ETHAN
You don't know what you're missing. This
is the Mt. Everest of hacks.
LUTHER
You're all kidding yourselves. Even with
top of the line crypto. Cray access.
STU 3's --
CLAIRE
Krieger can get it.
(to Krieger)
Right?
KRIEGER
May take a little time.
ETHAN
May take a little time. That's not what
Claire tells me about you.
LUTHER
Thinking Machine laptops, I'm talking
about the 686 prototypes -- with the
artificial intelligence Risk chip --
ETHAN looks at KRIEGER.
KRIEGER
Twenty-four hours.
ETHAN looks back at LUTHER. LUTHER thinks.
LUTHER
And I get to keep the equipment when
we're done.
ETHAN
Luther, I guess you're all out of
excuses.
LUTHER
I can't just hack my way inside. There's
no modem access to the mainframe, it's in
a stand-alone. I'd have to be physically
at the terminal.
ETHAN
Luther, relax, it's worse than you think.
The terminal's in black vault lock-down.
INT. CIA CORRIDOR/GUARD STATION - DAY
While ETHAN talks, we see what he's referring to:
A CIA ANALYST carrying a glass of iced tea and several file
folders walks down a long corridor in the headquarters
building. He comes to an impressive guard station and rests
his chin on a strange-looking optometric device.
ETHAN (V.O.)
They missed nothing in that room. Even
the vents have laser nets over them.
Apparently the device approves and the ANALYST is buzzed into
a "RESTRICTED" area of the building.
INT. CIA COMPUTER ANTEROOM - DAY
The ANALYST reaches a curtained area. He shoves the curtain
aside and comes to a large, vaulted door. He slides a card-
key into a slot, leaves it there and slides a second card-key
into the slot beneath it.
ETHAN (V.O.)
Inside, there are three countermeasure
systems that can only be deactivated by
authorized entry. Which we won't have.
A panel next to the ANALYST says "INTRUSION COUNTERMEASURES
OFF." The ANALYST next spins a three digit combination code,
CHUNKS the door open and steps into --
INT. CIA COMPUTER ROOM - DAY
-- the secured terminal room. It's not large but it's
impressive. A single terminal is bolted into the middle of
the floor and the glass and tile walls of the room overlook
computer storage towers.
ETHAN (V.O.)
The first system is sound-sensitive,
anything above a whisper sets it off.
The second system is on the floor and
pressure-sensitive --
The ANALYST closes the vault door behind him and walks across
the room. As he walks, the floor tiles light up under his
feet, turning off again when he lifts the weight from them.
ETHAN (V.O.)
--and the third detects any increase in
temperature. Even the body heat of an
unauthorized person in the room will
trigger it.
A thermometer on the wall shows the temperature is 72
degrees. The ANALYST sets his glass down, boots up the
computer, and starts entering data from the file folders.
ETHAN (V.O.)
All three systems are state of the art.
The ANALYST turns and takes a sip of his iced tea. A drop of
condensation runs down the glass and hits the floor. When it
makes contact, the floor panel lights up.
INT. TRAIN STATEROOM - NIGHT
The other team members gathered around the table look at
ETHAN skeptically.
LUTHER
And you really think we can do this.
INT. TRAIN CORRIDOR - NIGHT
The middle of the night and the train is dark. The team
members come out of the stateroom to go to bed -- KRIEGER
heads in one direction, ETHAN and CLAIRE in the other.
ETHAN stops. His attention is drawn to the car ahead. There
is a window in the door to the car and he looks through it.
ETHAN'S P.O.V. THRU WINDOW (INT. BUSINESS CAR - NIGHT)
Ethan sees the business car, a plush space for busy
executives to get some work done on the train. There are
laptops, cellular phones, desks that fold out in front of
spacious seats.
A FEMALE EXECUTIVE, forty or so, is seated at one of the
desks, typing away into her laptop.
INT. TRAIN - CORRIDOR - NIGHT
ETHAN knocks on the compartment door.
ETHAN
May I come in?
CLAIRE
(wary but interested)
Sure...
INT. TRAIN - CLAIRE鞸 COMPARTMENT - NIGHT
ETHAN and CLAIRE enter, ETHAN closing the compartment door.
He pulls an envelope from his jacket and holds it out to her.
She takes it, waits.
ETHAN
It's cash. And a second passport. If
anything goes wrong when we're inside, if
you sense even the slightest deviation
don't look over your shoulder, you walk
away - you hear me? Just walk away.
CLAIRE
You don't think we're going to make it.
ETHAN
I didn't say that.
CLAIRE
You didn't have to.........
ETHAN
I just need you to be safe.
CLAIRE
What about you?
ETHAN
What about me - Jim called an abort - I
didn't comply. I lost the team. I just
need you to be safe.
CLAIRE's coolness causes ETHAN to hesitate just enough to
take it in.
CLAIRE
I wish I'd never laid eyes on you..
And they're suddenly, violently in each others arms, kissing
and half-falling onto the converted bed. She suddenly
resists. He senses it and pulls away.
ETHAN
Sorry.
He rises and goes to the door. He's got his hand on the knob
when CLAIRE wraps her arms around him from behind, turns him
to her and kisses him, deeply. This time they sink slowly to
the bed.
CUT TO:
EXT. CIA LANGLEY - DAY
Seen from the air, CIA headquarters is a sprawling complex,
two huge buildings surrounded by acres of parking lots hacked
out of a thick forest.
LANGLEY
INT. COMMUNICATIONS ROOM - DAY
KITTRIDGE, BARNES, and their STAFF are hard at work,
photographs and biographical data of ETHAN on various
computer and television screens around the room. KITTRIDGE
leans back in his chair, staring at the ceiling.
BARNES
What I want to know is how Hunt accessed
the disavowed file, even after we cut off
his authorization code.
AGENT LOWDEN/AGENT
MAREK
He may have used Phelps' code. They were
friends, and Phelps, was still valid for
twenty-four hours.
BARNES
If that's the case, we need to implement
a system to immediately deactivate an
agent's code immediately...
KITTRIDGE brings his chair legs down on the floor with a
BANG.
KITTRIDGE
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