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Siege (1998)

by Lawrence Wright, Menno Meyjes and Edward Zwick.
Story by Lawrence Wright.
1998 SHOOTING DRAFT

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


FADE IN:

EXT. TYRE, LEBANON - DAY

A coast road. Date palms. Burnt-out hulks that once were 
Russian T-54 TANKS have long ago been left to rust in the 
sun. A 4-door MERCEDES hurtles down the ancient road.

		DEVEREAUX (V.O.)
	We're online for exactly two minutes.

A SATELLITE VIEW

Of the same scene. A grainy IMAGE of the car, and some 
distance away, a moving cluster of animals. They are:

HERD OF SHEEP

As seen at ground level. Two SHEPHERDS goad them forward. In 
the distance, the MERCEDES approaches.

FLASH CUT -- NEWS FOOTAGE (STOCK)

U.S. Army medics and rescue workers frantically sift through 
the rubble of a collapsed barracks.

		CNN REPORTS (V.O.)
	"...the single worst casualty in the 
	history of American military --"

BACK TO -- THE COAST ROAD

The Mercedes barrels down the road, doing at least 80 mph.

THE SATELLITE VIEW

Shows that the car is fast approaching the point where the 
herd of sheep are about to cross the road.

FLASH CUT -- NEWS FOOTAGE (STOCK)

Amidst the rubble, the dead are zipped into body bags.

		CNN REPORTS (V.O.)
	"-- the truck, carrying high 
	explosives is believed to have hit 
	the barracks --

BACK TO -- THE COAST ROAD

The driver of the Mercedes hits his horn but doesn't slow 
down. In addition to the driver and a bodyguard, an OLD MAN 
WITH A HENNAED BEARD, a turban, and sunglasses sits in back.

THE SATELLITE VIEW

As the Mercedes closes with the sheep:

		DEVEREAUX (V.O.)
	Slow down.

BACK TO -- THE COAST ROAD

As if on command, the Mercedes finally slows as the sheep 
move lazily across the road.

FLASH CUT -- NEWS FOOTAGE (STOCK)

President Clinton addresses reporters in the White House.

		PRESIDENT CLINTON
	"To any lengths, anywhere in the 
	world, to bring these people to 
	justice."

BACK TO -- THE COAST ROAD

Inside the Mercedes, they watch as the Shepherd urinates and 
the sheep mill about in the middle of the road. The driver 
rolls down his window to scream in Arabic at:

THE POOR SHEPHERD

Who hurries to button his fly. It is only as we look closer 
that we see the silenced muzzle of:

COLT COMMANDO RIFLE

Protruding from the sleeve of his jhallabah. And then:

THE HERD OF SHEEP

Fill the frame, blocking our view of the Mercedes, and for a 
moment, all we can HEAR is their gentle bleating. But as 
they clear frame, we can see that:

THE MERCEDES

Has been turned into an abattoir, its windshield shattered 
and bloody. The driver slumps over the steering wheel, the 
bodyguard is half out of the window. And in the distance:

WITH A MAGICIAN'S ALACRITY

One Shepherd pulls a BLACK HOOD over the Sheik's head while 
the other injects him with a HYPODERMIC. The first Shepherd 
activates a SATCHEL CHARGE and swings it into the Mercedes 
while the second straps the Sheik into a HARNESS... A BALLOON 
self-inflates and hurtles aloft, pulling a cable attached to 
the Sheik's harness.

AN MC-130 COMBAT TALON AIRCRAFT

Its "Whiskers" in the nose of the aircraft snag the cable 
without slowing and roars off, the Sheik dangling unconscious 
beneath -- just as the satchel charges EXPLODE the Mercedes.

THE SATELLITE VIEW

Records impassively for a moment, then breaks up into static.

		DEVEREAUX
	Gotcha.

IN A SAFE HOUSE -- SOMETIME LATER

A pale, diminished Sheik sits at a steelcase table. A STEEL 
COT and a STEEL TOILET. Closed-circuit cameras in the corner.

Opposite him: the man, whose voice we have only heard: GENERAL 
WILLIAM DEVEREAUX -- and though he wears a civilian suit, 
his bearing betrays his pedigree. His considerable charm and 
habitual skepticism are as much a product of self-discipline 
as his close-order drill.

		DEVEREAUX
	Nobody knows you're here. Not your 
	people. Not even my President. You'll 
	die here alone and be buried unknown -- 
	barring some miracle.

The SHEIK speaks a few words in Arabic.

		DEVEREAUX
	-- God? GOD?
		(looks at him)
	What you eat. Whether you eat. Sleep. 
	Pain. Absence of pain. I decide. I 
	make the day and the night. Even the 
	way you got here -- a hand that 
	reached down from the sky?
		(looks at him)
	God? I am your new God.

					DISSOLVE TO:

INT. MOSQUE - DAWN

A MUEZZIN climbs a spiral staircase, enters a turret-like 
room, CLICKS ON a microphone and CHANTS the call to prayer.

		MUEZZIN
	Allahuh Akbar...

HUNDREDS OF BELIEVERS prostrate themselves on prayer rugs. 
At the door, hundreds of SHOES are lined up, work boots, 
expensive loafers, a range of social classes represented.

ON THE STREET

Shopkeepers pause to kneel and pray. In Arab homes, parents 
and children do the same. And as we PULL BACK from:

THE MINARET

Of the Mosque, we DISCOVER not an Arab city, but instead the 
unmistakable skyline of:

DOWNTOWN MANHATTAN

The World Trade Ctr, Wall Street, The Federal building.

IN THE FBI SITUATION ROOM

Two AGENTS hurry through the bullpen. TINA OSU, 32, sharp, 
and FRANK HADDAD, Lebanese with an insouciant grin.

		TINA
	Brooklyn South issued a code blue 
	less than two minutes ago. They think 
	hostages are involved.

		FRANK
	Black-and-whites on the scene?

		TINA
	Setting up a perimeter now.

		FRANK
	Residence or business?

		TINA
	A bus.

Sequence omitted from original script.

THE 99 BUS -- SEEN FROM ABOVE

Surrounded by a phalanx of Black-and-Whites.

BACK TO -- THE SITUATION ROOM

They have been joined by Anthony Hubbard, the ASAC.

		HUB
	SWAT?

		FRANK
	On the way.

		HUB
	Negotiator?

		TINA
	Rolling.

		HUB
	Bomb squad?

THE 99 BUS

The BOMB SQUAD approaches. We SEE terrified PASSENGERS inside.

BACK TO -- HUB AND FRANK, EXITING THE FEDERAL BUILDING

		HUB
	How soon can we get there --?

		FRANK
	In this traffic, maybe tomorrow.

BACK TO -- THE 99 BUS

As a police TECHIE inserts a dentist's mirror through a 
drilled hole in the bus's door, the L.E.D. begins to BLINK 
and the passengers SCREAM and dive for cover. An EXPLOSION.

BACK TO -- HUB AND FRANK, IN THE CAR

Frank is listening to a cell phone.

		FRANK
	Oh, fuck. It just blew.

BACK TO -- THE 99 BUS

The doors hang off their hinges. As the PASSENGERS tumble 
off, we SEE they are covered in BLUE PAINT.

BACK TO -- HUB AND FRANK, IN THE CAR

		HUB
	-- What?!

		FRANK
	-- That's what they're telling me.

		HUB
	-- And nobody's hurt?

Frank nods. Hubs closes his eyes in gratitude.

		HUB
	Thank God.

											CUT TO:

THE JOINT FBI/NYPD TERRORISM TASK FORCE - FEDERAL BLDG

They're listening to a tape-recording, altered by a VO-CORDER:

		TAPED VOICE
	-- our first and last warning.

As the MESSAGE continues, we PAN the faces: MIKE JOHANNSON, 
squad supervisor, and DANNY SUSSMAN, representing NYPD.

		TAPED VOICE
	We expect our demand to be met. There 
	will be no negotiation. That is all.

		TINA
	Demand for what? You hear any demand?

		MIKE
	You sure this is all they got?

		SUSSMAN
	That's it.

		FRANK
	Maybe it's performance art.

Sussman shoots him a look. Clearly Haddad enjoys pushing his 
buttons. Finally, Hub stands up.

		HUB
	-- Okay. Blue paint. Voice-altering 
	technology --

		FRANK
	-- available from The Sharper Image 
	catalogue.

		SUSSMAN
	Last I looked they weren't offering 
	exploding paint bombs.

		HUB
	Still, the rhetoric sounds political. 
	Militia?

		TINA
	Not their style.

		HUB
	Frank --?

		FRANK
	Jihad isn't known for their sense of 
	humor, and Hamas is raising so much 
	money here, why queer their deal?

		TINA
	Anyway, isn't Green the color of 
	Islam, not blue?

		FRANK
	-- And, excuse me, but why do we 
	immediately assume they're Arabs?

		HUB
	I want a composite of the suspects 
	in circulation by the end of business 
	today. Tina, you cross-check it 
	against the mainframe. Mike, have 
	you got the lab analysis on the paint?

		MIKE
	Not yet...

		HUB
	-- See if any was sold in quantity 
	the last month. Danny --

Tina's phone buzzes. She picks it up as Hub keeps going:

		HUB
	-- find out what stop these guys got 
	on the bus, maybe there's a witness.

		FRANK
	Hub... I think we're all eager to 
	give up our weekends on this. It 
	just occurs to me, has anybody even 
	committed a crime here? I mean, 
	assault with a deadly color?

Hub deals with Haddad's irreverence by ignoring it.

		HUB
	Here's what I don't like. They know 
	explosives. They know our response 
	time. They put in a call and walk.

A young agent, FRED DARIUS, hands Hub a piece of paper:

		FRED
	Excuse me, sir. I think you should 
	see this. Came in on the Fax.

Only two words are written: "RELEASE HIM."

		HUB
	Release him? Him who? Who are we 
	holding?

		TINA
	Marv Albert?

		SUSSMAN
	McVeigh? Sheik what's-his-name from 
	the Trade Center.

		FRANK
	-- Omar Abdel Rahman... asshole.

		FRED
	The Hamas guy got released in April.

		FRANK
	Under protest.

		HUB
		(looks at the fax)
	Why be coy about it?

		SUSSMAN
	You think it's phony?

		TINA
		(covering the phone)
	Hub, somebody's flashing a government 
	badge over at the warehouse where 
	they're working on the bus. Our tech 
	guys want to know if we're cooperating 
	with any other agencies on this thing.

Off Hub's look, we:

											CUT TO:

AN OLD WAREHOUSE IN BROOKLYN - DUSK

Hub and Haddad join AGENT FLOYD ROSE, a tall Black man.

		AGENT ROSE
	-- She's looking for wiring signatures 
	on the device and asking for copies 
	of any latent prints we've managed 
	to lift.

		HUB
	-- Agency?

		AGENT ROSE
	Smells like it. Turns out she's also 
	been talking to some of the 
	passengers.

THEY OPEN THE DOOR

In the klieg lights -- THE BUS. Men in white coats dust every 
inch and generally behave as if investigating a crashed UFO. 
In their midst, a young WOMAN, midwestern pretty in a serious 
suit. She looks up as Hub enters.

		HUB
	Hi.

		WOMAN
	Hi, there.

		HUB
	Special Agent Anthony Hubbard. FBI.

		WOMAN
	Oh, shit, I've been trying to liaise 
	with you all day. My name is Elise 
	Kraft, National Security Council.

She offers her hand. Hub doesn't take it yet.

		HUB
	-- And you've been trying to "liaise" 
	with me all day? Did you think of 
	trying the phone book, Elise? We 
	have fourteen lines, that's not 
	counting the unlisted ones.

		ELISE
		(still holds out hand)
	Hi, I'm Elise Kraft, National Security 
	Council.

Finally, he takes her hand. And doesn't let go.

		HUB
	And I'm Colin Powell. What exactly 
	do you people want with my bus.

She tries to take her hand away, but he tightens his grip.

		ELISE
	We're all on the same team here, 
	Agent Hubbard.

		HUB
	Who exactly is "we" on this particular 
	team, Elise?

		ELISE
	It's never the question that's 
	indiscreet, only the answer.

He smiles. She smiles back. Convinced she's charmed him.

		HUB
	Tell you what, you send me an official 
	inter-agency request for cooperation 
	on this and I'll give you copies of 
	everything we come up with. Otherwise, 
	get your ass on out of here before 
	you contaminate my crime scene any 
	more than you already have.

		ELISE
	There's no reason to be nasty.

		HUB
	You think this is nasty?
		(smiles)
	In case you haven't heard. The CIA 
	has no charter to operate 
	domestically. Which puts you in 
	violation of federal law.

		ELISE
	Not according to the Cooperation 
	Agreement, Special Order 12333 -- I 
	suggest you reread the paragraph on 
	sharing information. I happen to be 
	well within my authority.

		HUB
	Special Order 12333 refers to domestic 
	terrorism. You got something you 
	want to "share" with me?
		(he waits... but no 
		answer is forthcoming)
	Us being teammates and all?

		ELISE
		(holds up a clipboard)
	Unfortunately, not yet. But as soon 
	as I do, I'll --

		HUB
	-- get back to me, yeah, I know.
		(takes the clipboard 
		from her hands)
	Here's what I'm gonna do. I'm gonna 
	have a couple my "teammates" here 
	escort you back to wherever you came 
	from. And then I'm gonna go back to 
	the office and wait for that official 
	cooperation request. Okay by you?

		ELISE
	Swell.

		HUB
	Nice meeting you, Elise. Is that 
	Elise with an "E" or an "A"?

		ELISE
	Nice meeting you, too, Special Agent 
	Hubbard.

OUTSIDE THE WAREHOUSE

Hub watches as Elise is led away by two AGENTS. Agent Rose 
stands nearby.

		HUB
	Tail her.

NICE LIVING ROOM -- NIGHT

In Frank Haddad's home. The Haddad's are celebrating the day 
FRANK JR. has finished reading the Holy Koran.

		FRANK JR (O.S.)
		(in Arabic)
	"In the Name of Allah, the beneficent, 
	the merciful. Say: I seek refuge in 
	the Lord of Men, the King of Men."

Frank's TEACHER offers the final benediction. Those who are 
Muslim cover their face with their palms.

		TEACHER
		(in Arabic)
	"Make me know that which I have become 
	ignorant of; and make me recite it 
	in the hours of the night and the 
	day; and make it an argument for me 
	O Thou Sustainer of all the worlds!" 
	Ameen!

		ALL
	Ameen.

Later --

The guests mingle, eat pastries and drink sweet tea.

		TINA
	...Nice, wasn't it?

		HUB
	Very.

		TINA
		(after a moment)
	You ever gonna stop by, pick up your 
	things?

Nearby, Mike and Danny observe them.

		DANNY
	-- He doing her?

		MIKE
	Some detective you are. They stopped.

		FRED
	Really? I wonder if she likes white 
	guys.

		DANNY
	I wonder if she likes bald guys.

Hub, meanwhile, congratulates Frank's wife, NAJIBA.

		HUB
	You must be so proud...

		NAJIBA
	Small children, small worries. Big 
	children --

		FRANK
	-- big orthodontia bills. Someday, 
	you'll understand.

And then Frank notices Hub's DRIVER standing in the doorway.

		FRANK
	Where we going?

		HUB
	You're staying with your family. I'm 
	back in the morning.

											CUT TO:

Sequence omitted from original script.

Sequence omitted from original script. (ALREADY SHOT)

INT. HUB'S OFFICE - EARLY MORNING

Hub is looking at surveillance photos of Elise. Frank enters.

		FRANK
	You sleep here?
		(Hub smiles, but 
		doesn't look up)
	Immigration called.

A SMALL GREEN ROOM -- AS SEEN THROUGH A TWO-WAY MIRROR

Hub and Frank watch a dark-skinned MAN being questioned by a 
uniformed OFFICIAL. An INS Supervisor shows them a false-
bottomed suitcase stuffed with money.

		INS OFFICIAL
	-- all in small bills. So we figure, 
	smurf, right? Then I think, 
	considering the gentleman's 
	nationality, plus where he's been 
	recently, we better call Frank.

		FRANK
	-- who's trying to score points with 
	his boss, bigtime.

		HUB
	Has he broken any laws?

		INS OFFICIAL
	No, sir. He's twenty bucks under the 
	$10,000 limit.

		FRANK
		(pulls out a $20 bill)
	Not anymore.

IN THE ROOM

The official hopes volume breaks the language barrier.

		UNIFORMED OFFICIAL
	...so, Kahlil, you're saying this is 
	an INHERITANCE? Somebody DIED and 
	you're bringing them the MONEY?

The dark-skinned man is trying to keep up:

		KAHLIL
	No, no... dhouri.

BEHIND THE MIRROR

		FRANK
	...He means, "dowry."

		HUB
	Check out his neck.

Small puckered SCARS. The INS guy looks confused.

		FRANK
	The tabac.
		(mimics putting out a 
		cigarette on his arm)
	Sssssss... The territories.

		HUB
		(thinks a moment)
	Put him in play.

											CUT TO:

THE VAN WYCK EXPRESSWAY

Hub and Frank in a rental CONTOUR, tail Khalil, in a cab:

		HUB
		(on the phone)
	-- on the Van Wyck... No, not yet.
		(to Frank)
	-- What are we in?

		FRANK
	A '97 Contour. On my Visa.
		(watches Khalil)
	Back home, the security services'd 
	be up this guy's ass with a poker, 
	but what do we do, we let him go.

		HUB
		(still on the phone)
	...Six teams on the ground, at 
	least... well, pull 'em off the UN...
		(to Haddad)
	Stay back...

		FRANK
	Not my first date, Hub.
		(the TAXI changes 
		lanes)
	He's taking the BQE. Looks like it's 
	Brooklyn.

		HUB
		(still on the phone)
	I want husbands and wives, I want 
	baby carriages, and no Brooks 
	Brothers.

		FRANK
	You're micro-managing.

		HUB
		(still on the phone)
	-- And find me a judge I can work 
	with. We want sound on this guy... 
	damn'... I'm losing you...
		(raises his voice)
	And bring us a radio.

		FRANK
	I get reimbursed for this, right?

											CUT TO:

ATLANTIC AVENUE - BROOKLYN

The Third World. Teeming, roiling, Kinshasha meets Beirut 
meets Tel Aviv meets Moscow. Hand-written shop signs in Arabic 
and Hebrew, boom boxes throbbing out "Oum Khatoum," the latest 
neo-Palestinian techno-rock.

KHALIL pays the taxi driver and starts off on foot. Hub's 
CONTOUR pulls over a safe distance behind and waits. An AGENT 
passes by and slips a WALKIE-TALKIE through the open window.

MAN CARRYING GROCERIES

Falls in behind Khalil, who ducks into a storefront, where 
WE CAN SEE him buying a Coca Cola and a Baby Ruth bar.

IN THE CONTOUR

		FRANK
		(notes the purchase)
	Twelve bucks in Gaza.

		HUB
	America's the place to be if you're 
	a terrorist.
		(on the walkie-talkie)
	Fred's hovering. Patsy, take over...

A WOMAN WITH A STROLLER replaces the man carrying groceries.

		HUB
	...Tell her to watch out for 
	reflections.

		FRANK
		(hands him the phone)
	I got the Judge.

		HUB
		(on the phone)
	...Good morning, Sir. How're things 
	in the Second Circuit this morning...? 
	...I hear you... Listen, Judge, we're 
	in a kind of situation here...

KHALIL is on the move again.

		HUB
		(on the phone)
	Hold on, will ya, Judge?
		(into walkie-talkie)
	Is he talking to somebody, who's he 
	talking to? Are we getting film?

FROM A GREAT DISTANCE

An AGENT with a TELEPHOTO snaps a picture of Khalil, who has 
paused to chat with a PALESTINIAN of patrician good-looks.

		HUB
		(covering the phone)
	-- Frank?

		FRANK
	Don't know him. If we were allowed 
	to get sound on them, we'd know him.

The walkie-talkie CRACKLES TO LIFE, confirming the photos.

		HUB
		(covering the radio)
	...What's that? No, Judge, not yet 
	we're not... but we have reason to 
	believe he may be involved with --
		(covers the phone 
		again; keys the radio)
	Damnit Tommy!
		(to Frank)
	He's overacting! Tell him --
		(back to the phone)
	Sorry, Judge... No... I just --

		FRANK
	He's making him. Shit. Fuck. He's --

Khalil has a sixth sense from a lifetime on the West Bank. 
All of a sudden, he BREAKS INTO A RUN.

		HUB
		(keys radio)
	Go, go, go!!! All units --

He slams the car into gear and PEELS OUT into traffic.

SIX SURVEILLANCE TEAMS

In various guises, break cover and SPRINT after Khalil, who 
shifts into overdrive. Cars SCREECH to avoid flattening him.

Hub's CONTOUR pulls into traffic and finds his way blocked 
by a narrow passage between double-parked cars. He goes for 
it, SCRAPING his way between them.

		FRANK
	Christ!

		HUB
		(on the phone)
	Judge, I'm gonna have to call you 
	back...

KHALIL SPRINTS

Into an open-air MARKET, KNOCKING DOWN veiled WOMEN with 
bags of fruit and vegetables. He VAULTS over stalls.

The CONTOUR scrapes PARKED CARS as it swerves into an alley, 
desperately trying to cut off Khalil's escape route.

		FRANK
	Shit --! I didn't take the insurance.

A SOCCER BALL bounces into Hub's peripheral vision, followed 
by TWO BOYS.

HUB SLAMS THE CONTOUR INTO THE WALL

To avoid killing the two boys. Hub gets out of the car and 
continues the pursuit on foot. He's gaining on Khalil, when:

A VAN

Bears down on Khalil, its doors sliding open as TWO PAIRS OF 
HANDS reach out and ANOTHER MAN appears out of nowhere and 
BODYCHECKS Khalil into the van and jumps in after him.

		HUB
	What the --?

The van BURNS RUBBER and DISAPPEARS into traffic.

MINUTES LATER --

An impromptu huddle in the alley. AGENTS gather in a circle 
as RADIOS SQUELCH and HELICOPTERS circle above.

		FRED
	They just found the van. Doesn't 
	look like they're gonna find any 
	prints.

The Agent who took the pictures pulls a color xerox-type 
PHOTO from a digital printer in his car. Hub looks at the 
picture of Khalil and the good-looking Palestinian.

		HUB
	Run him down, bring him in.

Fred hands a cell phone to Hub.

		FRED
	Floyd Rose.

		HUB
	Go, Floyd.

As he listens, the first trace of a smile graces Hub's face.

											CUT TO:

AN ORDINARY HOUSE

In an ordinary neighborhood. Hub sits in an UNMARKED CAR. 
Agent Rose climbs into the front seat.

		AGENT ROSE
	I've got two in the Plymouth, at 
	least three inside, and see that guy 
	walking his dog...? He did his 
	business about an hour ago and they're 
	still walking.

IN ANOTHER CAR --

		DANNY
	I had a dog like that once.

		FRANK
	It's not his dog, numbnuts. They're 
	spies.

		DANNY
	The dog works for the CIA?

Their radio CRACKLES to life. It's Hub.

		HUB (V.O.)
		(over the radio)
	All units report in turn.

We HEAR "Unit 1 is good to go," "Unit 2, we're ready to rock."

		HUB
	Let's roll.

THE MAN WALKING THE DOG

Is suddenly double-teamed by TWO AGENTS.

		AGENT - MIKE
	Federal Agents. Hands behind your 
	back --

A third AGENT throws his jacket over the dog.

TWO UNMARKED CARS

Fishtail across the quiet street, boxing in the Plymouth as 
an AGENT from the sidewalk thrusts a 12-gauge Remington Pump 
in through the driver's window.

		AGENT - FRED
	-- Keep 'em where we can see 'em, 
	thank you very much.

THE DOOR TO THE HOUSE

Is BLOWN-IN by a specially-designed SHOTGUN. Two MEN, eating 
take-out are surprised by Frank and Tina, their guns drawn.

		FRANK
	Hi, guys, I expect you know the drill.

Hub continues warily from one empty room to the next. A 
stairway leads downstairs. As Hub starts cautiously down, 
muted VOICES can be heard. Reaching the bottom, he sees:

KHALIL

Sitting in a chair. Behind him stands one of FREELANCERS 
from the warehouse. And opposite him, in a barca-lounger:

ELISE KRAFT -- Somehow amidst the normalcy of the furnished 
basement is a palpable feeling of menace.

As Hub shows himself, one of the Freelancers points a Glock 
.9 at his head. Hub just stares him down.

		ELISE
	Ralph, spare us.

The freelancer lowers the gun. Hub looks at Khalil, whose 
face is badly bruised.

		ELISE
	I never touched him.

		HUB
	Really? I'm taking him into custody 
	just the same.

		ELISE
	What are you going to charge him 
	with? Jaywalking?
		(Hub stares at her)
	I don't suppose we could just have a 
	little chat with him here first?

		HUB
	Not in this lifetime.

		ELISE
	You know, Hub... may I call you Hub? 
	If you guys hadn't blown the 
	surveillance, we'd have been able to 
	follow the money. What do you think, 
	Khalil, you would have led us right 
	to your friends, wouldn't you?

Khalil averts his eyes from any contact with her.

		HUB
	What friends --? What have you got 
	for me, Elise?... Enlighten me.
		(she stonewalls)
	Tell me now or tell me downtown.

Still nothing. Hub calls out to his agents.

		HUB
	Get this guy out of here and book 
	him.

As the other agents approach Khalil:

		ELISE
	One phone call and he's mine again. 
	You know the number. I have --

		HUB
	You have "the right to remain silent," 
	you have "the right to an attorney. 
	Anything you say can and will be 
	held against you in a court of law --
	"

		ELISE
		(overlapping him)
	Oh, come on... Do you have any idea 
	what you're starting here, the kind 
	of shitstorm you're about to --

		HUB
		(overiding her)
	-- Kidnapping. Obstruction of Justice. 
	Assault.

As he heads out of the room, he says to a waiting Agent.

		HUB
	Cuff her.

											CUT TO:

HUB'S UNMARKED CAR

Elise sits, handcuffed, alone in the back seat. Up front, 
Frank is driving with Hub beside him.

		FRANK
	So, Elise... You okay back there, 
	you don't get carsick or anything? 
	Those handcuffs too tight --?

		ELISE
	Shouf mountains, right? Shiite or 
	Sunni?

		FRANK
	Wow. You're really good.
		(to Hub)
	She's really good.

		HUB
	You ready to tell us what's going on 
	here, Elise --? Was the paintbomb a 
	warning?

		ELISE
		(to Haddad)
	American University of Beirut? I was 
	there from '79 to 82.

		FRANK
		(a look to Hub)
	No shit?

		ELISE
	My father taught Economics. Henry 
	Kraft?

		HUB
	Is there a terrorist cell operating 
	in this city that we are unaware of?

		ELISE
		(ignoring him; to 
		Haddad)
	Such a tragedy. Growing up in that 
	city was... paradise. Like an exotic 
	Paris, wasn't it, Frank --?

		HUB
	You ever been in Rikers, Elise? You 
	know what happens in there?

Elise looks at him, utterly unfazed by the threat.

		ELISE
	...Yum.

Frank's BEEPER goes off. As they look at one another, we:

											CUT TO:

ABOUT A MILLION COP CARS

Red lights flashing, have sealed off a Brooklyn Street. On 
the rooftops SWAT teams are already deploying.

SHARPSHOOTERS politely insinuate themselves into the 
surrounding family APARTMENTS and take up firing POSITIONS.

THE 87 BUS

Stands alone in the middle of the street. Through a Marksman's 
SCOPE we SEE the terrified passengers forced to stand, catch 
glimpses of the TERRORISTS, obscured by the hostages.

Hub confers with the NYPD officer-in-charge.

		NYPD OFFICER
	-- definitely Arab-types, only this 
	time they're still in there...

		HUB
	Any communication at all?

		NYPD OFFICER
	Nope. It's weird they're just in 
	there.

		HUB
	Get the frequency of the driver's 
	radio and patch it through to this 
	number. We need two lines. Frank, 
	get a negotiator out here.

		NYPD OFFICER #2
	Sir, they've got kids in there. We 
	count six.

This rocks Hub for a moment but he covers it well.

		HUB
	That gives us something to work with.

BACK AT THE CAR

Elise leans forward as Hub opens the driver's door.

		ELISE
	What's happening out there...

Hub takes off his jacket, folds it carefully on the seat.

		ELISE
	They've taken another bus, haven't 
	they? Talk to me...

		HUB
	Oh, now you want to talk. You want 
	to be my friend, is that it?

		ELISE
	Listen, these guys are the real deal.

		HUB
	How do you know?

She just looks at him.

		HUB
	Is there a terrorist cell operating 
	in Brooklyn?

		ELISE
		(a long moment)
	Yes.

		HUB
	Was the blue paint a warning?

		ELISE
	Yes. And I'm afraid this time they'll 
	blow the bus.

		HUB
	If they wanted to blow the bus then 
	why haven't they blown the bus --?

		ELISE
	I... don't know.

He starts away.

		ELISE
	Agent Hubbard. Please. Maybe I can 
	help.

A COMMAND POST

Has been hastily improvised behind a SWAT van.

		FRANK
	The driver's name is Larry Kaiser. 
	He says they've got explosives 
	strapped to their chests, they got 
	automatic weapons, and they're 
	speaking Arabic.

		HUB
	Where the hell's the negotiator?

		FRANK
	Tunnel's got twenty minute delays 
	and they're working on both bridges.

		HUB
		(to the cop)
	What else did he say about the device? 
	Did he describe it at all? Anything 
	about a button, or a cord, or...

THE FIRST ENG TRUCK

Pulls up and raises its satellite dish.

		ELISE
		(almost involuntary)
	Oh, God.

Frank turns to look at her. She is suddenly pale.

		ELISE
		(as it dawns on her)
	...They're not here to negotiate.

		FRANK
	Meaning?

		ELISE
	They were waiting for the cameras.

Hub is deep in conversation with the cops. Frank interrupts.

		FRANK
	-- Hub...

Hub looks up. Frank nods for Elise to repeat what she said.

		ELISE
	They're want the newsies here. They 
	want everybody watching.

Hub and Frank look at each other. Can this be true?

		ELISE
	You've got the shooters in place?

		FRANK
	-- So?

		ELISE
	Use 'em.

		HUB
	What?

		ELISE
	Kill 'em now.

They just look at her.

		ELISE
	It's lose-lose any way you play it... 
	Do you want to lose little or lose 
	big?

The NYPD officer has been listening:

		NYPD OFFICER
	I got the marksmen on the com -- 
	They're looking for a clean shot.

As the Policeman waits for a response on his radio, two more 
NEWS VANS pull up. The MEDIA CIRCUS has come to town: 
reporters breathlessly offer their live, on-the-scene reports. 
Hub and Elise stare at one another.

		NYPD OFFICER
	Shooter says they've got the 
	passengers all standing in the aisles. 
	He says, no go.

Hub can see the dread in Elise's eyes. As the seconds tick 
away, TWO NEWS HELICOPTER jockey for position above.

		HUB
		(to the cops)
	We have rules of engagement we're 
	gonna follow here, folks, so put the 
	safeties back on your weapons.
		(looks at Elise)
	Nobody's killing anybody until we 
	see what's what.

He grabs the phone.

		HUB
		(on the phone)
	Larry, this is Agent Hubbard of the 
	FBI, I'll be negotiating our way out 
	of this. Let me talk to one of them... 
	I know... I know. You just hang in 
	there, Larry... No, don't worry, 
	I've got somebody here who can 
	translate.

He looks over at Frank, who's listening on another cell.

		HUB
		(on the phone)
	Sir, -- My name is Anthony Hubbard. 
	I don't have any authority to make 
	deals, or respond to demands. I just 
	want to find out if you need anything 
	in there? If any of the passengers 
	are in need of medical attention?

He waits as Frank translates. Hub covers the mouthpiece.

		HUB
	-- Frank?

		FRANK
	I don't know if they understand.

		HUB
		(on the phone)
	Sir, is there anything you want to 
	say to me? That I can tell my people 
	here?

		FRANK
	The guy's just breathing into the 
	phone, maybe they're not even Arabs.

		HUB
		(on the phone)
	I get the feeling you don't want to 
	talk, but will you listen --? 
	...Whatever grievance you have, 
	whatever quarrel -- surely it doesn't 
	involve these children --

Still no response.

		HUB
		(on the phone)
	So I'm gonna ask you to... please... 
	let... the... children go.

No response -- then suddenly, the bus doors HISS OPEN

And six bewildered, ashen-faced CHILDREN step out before the 
doors HISS closed behind them. As Hub and a couple of the 
cops hurry out from behind the barricades to help the children 
cross the NO-MAN'S LAND to safety, a smattering of APPLAUSE 
breaks out among the cops. Elise tries to hold back tears.

		FRANK
	Okay, here we go...

		HUB
		(on the phone)
	Thank you, sir. I appreciate that 
	gesture, I really do. The best way 
	to get what you want in these 
	situations is to show yourself to be 
	reasonable. As you've just done.
		(Haddad translates)
	Now we've got some more to talk 
	about...

Elise watches as the news cameras zoom in.

		HUB
		(on the phone)
	I am unarmed, as you can see. So I 
	propose... You let the rest of the 
	passengers go, and I take their 
	place... That way, there's no pizza 
	deliveries or bathroom breaks to 
	worry about -- and all these --
		(indicates SWAT teams)
	-- people... will disappear.

Frank shakes his head, don't do this. Hub's look says 
translate it. Frank does it. They all wait.

		HUB
		(on the phone)
	I'm gonna take your silence to mean 
	you're considering my offer --

Elise looks at Frank, she can't help but admire his bravery.

		HUB
	How about we just start with a few 
	of the elderly people you got on 
	there. It's got to be hard for the 
	older folks to be standing all this 
	time.

Hub looks back at Frank. Still no response.

AND THEN THE BUS DOORS HISS OPEN AGAIN. A few elderly 
PASSENGERS start down the steps.

		HUB
		(on the phone)
	Thank you, sir. Now let's just let 
	these --

THE EXPLOSION OF THE BUS

Hurls Hub backwards as:

ALL SOUND FADES OUT

To be replaced by a high-end, almost electronic WHITE NOISE.

SHRAPNEL

Imbeds itself into car doors, bus benches, doorways as every 
WINDOW in a three-block radius is SHATTERED...

RED BLOOD

Replaces blue paint in a horrific shower.

HUB

Fights for consciousness.

AGENTS

Rush to his side to see if he is alright -- but WE CANNOT 
HEAR them. Though their mouths move it is only the WHITE 
NOISE that overwhelms us -- as we realize that Hub has been 
momentarily DEAFENED by the blast.

When at last Hub manages to speak, his words are MUFFLED and 
INDISTINCT -- as if the playback heads of a tape recorder 
needed to be cleaned.

		HUB
	I'm... alright. I'm --

Frank Haddad bends down close and we can lip-read him saying, 
"Just hang in there, buddy. . ."

		HUB
	-- okay... Just let me --

And then he leans over to VOMIT in the street.

THE SOUND OF SIRENS

Slowly bleeds in through the white noise -- mercifully for 
us, and for Hub, who wipes his mouth and looks up, realizing 
that his HEARING is coming back. He reaches for Frank's 
outstretched hand and stands, albeit woozily.

		HUB
	Is anybody --

But the look in Frank's eyes says it all.

THE DEVASTATION

Is numbing. IMAGES we associate with other countries. And 
then he sees Elise. Her face is cut and bleeding, but as 
their eyes meet, her look is one of absolute compassion.

					HARD CUT TO:

MORE THAN A HUNDRED AGENTS

Crowded into the now-overflowing BULLPEN. In absolute denial 
of his physical condition, Hub paces like a caged animal.

		HUB
	-- every trap, every hole. I want to 
	rumble every mosque, every community 
	center, every student organization 
	that's ever said an unkind word. I 
	want the heat turned up under all 
	our assets, all our informers, every 
	snitch gets twisted inside out. And 
	put some money out on the street -- 
	Arab community hates these people as 
	much as we do. They'll help.
		(turns to Mike)
	Have you got positive ID on --

		MIKE
	Hub, we don't have positive ID on 
	anybody.

		HUB
	We need more hands. Fred --

		FRED
	I'm on it.

He picks up a phone and begins requesting Agent transfers.

		HUB
	I want to talk to Khalil.

		TINA
	He's down the hall.

Now she picks up a phone and adds to the cacophony.

		HUB
	-- Conferences with DC at 9:00, 12:00, 
	4:00 and 9:00. Call your families, 
	find a sleeping bag, nobody leaves 
	this office until we have a strand 
	to pull. Oklahoma City, people. The 
	first twenty-four hours are the only 
	twenty-four hours.. And I don't want 
	to see anybody walking.

TEN MINUTES LATER - OUTSIDE A HOLDING CELL

Hub and Frank watch Khalil through a VIDEO MONITOR. The 
bruises on Khalil's face have deepened.

		HUB
	Doctor seen him?

		TINA
	He's on his way up.

		HUB
	Got a cigarette --?

		TINA
	You don't smoke.

Hub pockets the pack of cigarettes and walks into:

THE CELL

Frank hangs back in the doorway. Hub pulls up a chair, turns 
it backwards, and sits down very close to Khalil.

		HUB
	Ten thousand dollars.

Frank translates. Khalil pretends not to understand.

		HUB
	Khalil. I want to talk about the 
	money.

Again Frank translates. And again, Khalil looks blank.

		HUB
	Okay...

Hub reaches into his pocket and casually takes out the pack 
of cigarettes. Khalil's eyes widen. Hub smiles at him. At 
the SOUND of the match lighting, SWEAT begins to bead on 
Khalil's forehead. Hub takes his time LIGHTING the cigarette -- 
drawing deep so the tip turns bright red. Khalil unconsciously 
RECOILS in his chair.

		HUB
		(to Frank, re: Khalil)
	Doesn't like second hand smoke.

Hub turns back to Khalil, casually gesturing with his 
cigarette. Khalil almost jumps out of his skin.

		HUB
	You ready to talk about money?

Frank hasn't even begun to translate before Khalil begins 
SPEED-RAPPING in Arabic.

		FRANK
		(translating)
	...He says he loves America and only 
	wanted to get away from the security 
	services at home.

Tears stream down Khalil's face. He kneels at Hub's feet.

		FRANK
		(still translating)
	...He says he's sorry but he didn't 
	know he was doing something bad. His 
	cousin introduced him to a man who 
	promised him two hundred dollars for 
	his dowry if he'd bring the suitcase 
	to an address in Brooklyn.
		(to Hub)
	He's a cut-out.

OUTSIDE THE ROOM -- LATER

Hub hands Tina back the pack of cigarettes.

		HUB
	Nasty habit.
		(to Danny)
	3830 Flatbush Avenue.

FLASH CUT -- A SWAT TEAM

Bursts into an empty apartment. On the floor, a fax machine 
continuously sending the message: "RELEASE HIM."

BACK TO -- HUB

		HUB
	We want every rental agreement from 
	every landlord in Brooklyn. Hotels, 
	motels, flophouses...
		(to the other agents)
	It's cash, guys. They're the only 
	ones in America using cash.

TWO HOURS LATER --

The room is dark. A TECHNICIAN operates an overhead PROJECTOR.

		TECHNICIAN
	This is a spectograph of the semtex 
	used in the bomb. Look at the benzene 
	spike. This is the genuine article.
		(another slide)
	Now... this one's from the barracks 
	in Dhahran. As you can see, the 
	signature is identical.

TWO HOURS LATER --

A COMPUTER TECHIE (WHITNEY) is cross-referencing data. DIGITAL 
PICTURES of suspected terrorists scroll past. A surveillance 
PHOTO of Ahmed bin Talal. The ruined army barracks.

		HUB
	-- ask it if they've ever hit buses?

The techie types in a few commands: IMAGES of destroyed BUSES 
file past. Tel Aviv. Jerusalem. Beirut. None a match.

		WHITNEY
	-- not according to the mainframe.

TWO HOURS LATER --

The BOMB SCENE now resembles an archeological dig. Floodlights 
on stanchions. Forensic EXPERTS, on their hands and knees, 
use BLACK LIGHT and brushes to search for latent prints. 
Different color STRING divides the site into a grid.

		HUB
	-- with a Q-tip. Bone shards, hair, 
	fingernails --

Nearby, Danny and Mike observe Hub's intensity.

		DANNY
	-- He's way over his head.

		FRANK
	Shut the fuck up and go give somebody 
	a parking ticket.

TWO HOURS LATER --

In THE LAB. A FINGERPRINT EXPERT sifts through a plastic bag 
of fingertips and teeth. Scans each into a computer.

		FINGERPRINT EXPERT
	Not yet.

Sequence omitted from original script.

TWO HOURS LATER --

Hub is STARING AT THE TV SETS which are all REPLAYING the 
terrible incident, over and over again.

		TV SOUND BITE
	"-- Today; Tel Aviv has come to 
	Brooklyn. The question... is why."

Finally, he turns away so no one will see. His eyes are hot 
with the emotion.

		WHITNEY
	You okay?

The Fingerprint techie races in, sparing Hub a response.

		FINGERPRINT EXPERT
	Got one!

TWO HOURS LATER --

Hub and Tina address twenty agents.

		HUB
	Ladies and Gentlemen, meet the late 
	Ali Waziri.

He projects a PHOTO of the dead Terrorist onto the wall.

		HUB
	Tina talked to the Israelis and traced 
	this sucker to a group operating out 
	of Ramallah. That's the West Bank, 
	not the West Side for those of you 
	just joining us from Nebraska.

A few appreciative CHUCKLES. They're all exhausted. This is 
the first good news in a bitch of a day.

		TINA
	Okay, we've pulled his landing card 
	and his I-94. So now we know he came 
	in three days ago, out of Frankfurt --

She points to where: A TIME-LINE has been created out of 
colored strips beneath a bank of silent TV monitors.

		TINA
	What we need now is to fill in the 
	time between his arrival and the 
	incident. All known associations, 
	and most of all, we need an address.

TWO HOURS LATER --

The TIME-LINE is progressing. PHONE TECHNICIANS add tie-lines, 
dedicated fax lines, wats lines and scrambled lines. Cable 
everywhere. Danny and Frank pore over Ali Waziri's I-94.

		FRANK
	IAP66. What's IAP66?

		DANNY
	Hold on, hold on, I'm looking it up --

		FRANK
	-- Today, Danny...

		DANNY
	Wait, wait -- Here we go. Student 
	Visa, J-1.

Hub has been pacing, nearby.

		HUB
	Where's the original --?

		DANNY
	In his passport.

		FRANK
	Which is... vaporized.

		HUB
	Where's the copy?

		FRANK
	At the point of issuance. Could be 
	the American Consulate in Tel Aviv. 
	The American Consulate in Amman, 
	Cairo, Alexandria, Riyadh -- all an 
	easy drive from the West Bank --

Hub suddenly had to fight off a wave of nausea and dizziness.

		HUB
	What time is it --?

		DANNY
	Three-fifteen. P.M.
		(off Hub's blank look)
	When's the last time you ate?

Fred Darius, the young agent, appears.

		FRED
	Sir. They want you in the lab.

THROUGH A POWERFUL ELECTRON MICROSCOPE

Hub peers through the eyepiece at a MAGNIFIED STRAND of fiber.

		FIBER EXPERT (V.O.)
	Pure, unadulterated, Egyptian cotton.

		FRED
	You're saying they're Egyptian?

		FIBER EXPERT
	No. No... I'm just saying -- See...

		HUB
	-- It's what they use for funerals. 
	The guy was wearing a shroud.

He looks at Frank. It's just as Elise said. The real deal.

		HUB
	Let's see if she's ready to talk.

A HOLDING CELL

Elise sits quietly with the stillness of those who have been 
there before. Hub enters.

		HUB
	I thought one phone call and you 
	were out of here.

		ELISE
	I didn't make the call.

		HUB
	Why not?

She just looks at him, entirely neutral.

		ELISE
	Are you alright --?

		HUB
	Just some tinnitus in my left ear --

They look across the professional chasm that divides them.

		HUB
	I need to know what I don't know.

		ELISE
	Life's too short.

But there's a hint of some thawing in her tone.

		HUB
	You hungry?

		ELISE
	We ordering in --?

											CUT TO:

Sequence omitted from original script.

IN A DOWNTOWN DELI

Hub and Elise sit, eating corned beef sandwiches.

		ELISE
	-- The funeral shroud is the final 
	step in the ritual of self-
	purification. First a fast, then --

		HUB
	-- the washing of the body, then the 
	shroud. I saw it on Sixty Minutes. 
	Tell me something I don't know.

She pauses, always gauging how much to reveal. And when.

		ELISE
	...Last March in Iraq, we identified 
	the man we believe responsible for 
	bombing the army barracks last year. 
	In August, he went to Lebanon. Where 
	he was... extracted.

		HUB
	Extracted? Extracted by whom?
		(she just looks at 
		him)
	I see.

		ELISE
	His name is Sheik Ahmed bin Talal. 
	He's Iraqi. And something of a 
	religious leader.

		HUB
	With something of a devoted following?
		(she nods)
	...Okay, I can understand why we 
	might not want to publicize the fact 
	that our government's in the 
	kidnapping business, but why not 
	tell us?

		ELISE
	He's still being... debriefed. They're 
	not ready to go public with charges.

		HUB
	What else you got on his followers.

		ELISE
	Clearly, they're committed.

		HUB
	Meaning?

		ELISE
	In this game, the most committed 
	wins.

		HUB
	So they'll just keep coming until we 
	release him.

		ELISE
	Unless we match their commitment 
	with our own.

		HUB
	What about talking to this sheik?

		ELISE
	You don't think they've got guys 
	talking to the sheik? Except the 
	sheik isn't talking.

		HUB
	So who's giving the orders? How do 
	they coordinate, pick their targets?

		ELISE
	Believe me, we've put every resource 
	we've got onto that very question.
		(puts down her fork)
	Otherwise... we wait.

		HUB
	We wait.

She looks at him. For one brief moment the mask drops away.

		ELISE
	If there's anybody on earth who knows 
	how you feel, it's me. But you've 
	got to let it go. Those people were 
	dead the minute they got on the bus.

Frank Haddad appears, making his way toward their table.

		FRANK
	Sorry, boss. Hello, Elise. Mmmm, is 
	that pastrami?
		(tastes it; then with 
		his mouth full)
	Oh, yeah, we made the guy in the 
	picture.

Sequence omitted from original script.

											CUT TO:

A CAFE

Where Students sit inside and SMOKE, then SMOKE some more.

		FRANK (V.O.)
	My people. The last of the 
	unambivalent smokers.
		(shakes his head)
	Monsters. The toughest motherfucker 
	in Bed-Stuy is a muffin compared to 
	some of these guys.

They watch as SAMIR gets his bill from the waiter.

		FRANK
	His name's Samir Nazhde. Teaches 
	Arab Studies at Brooklyn College. He 
	sponsored Ail Waziri's student visa. 
	And dig this -- his brother blew up 
	a movie theatre in Tel Aviv.

		ELISE
	You might consider leaving him alone.

		HUB
	Why would I consider doing that --?

In the cafe, Samir counts cash to leave on the table.

		ELISE
	Play him like a cop and haul him in 
	now and get your arrest, or tag him 
	and let him lead you to the really 
	big fish.

		FRANK
		(an arabic curse)
	You're fishing and he's getting visas 
	for bombers.

		ELISE
	You ever heard of catch and release?

		FRANK
	Yes, and he's on the next plane for 
	Tunis.

Hub looks at Elise. Samir is leaving -- it's now or never.

		HUB
	Take him down.

		FRANK
		(keys his radio)
	Go.

THREE AGENTS brace Samir politely but firmly, and lead him 
to their car. Samir slides into the back seat next to Elise. 
In the REARVIEW MIRROR, Hub watches as a look seems to pass 
between them. Then again, it may not have happened.

		FRANK
	Samir Nazhde, my name is Frank Haddad, 
	I'm a Federal Agent. We have reason 
	to believe you are an accessory to 
	the bombing of Bus 87.

		SAMIR
	Are you crazy --?

		FRANK
	You are an associate of Ali Waziri.

		SAMIR
	Who? I know no one by that name.

Elise is looking out the window, seemingly oblivious.

		FRANK
	You got him a student visa.

		SAMIR
	I sign these applications as a matter 
	of course, hundreds of them. Everyone 
	wants to come to the land of 
	opportunity and Baywatch.

Elise tries to keep a smile off her face. Hub clocks this.

		FRANK
	You spent two years in Israeli jails 
	during the Intifada.

		SAMIR
	The only ones who didn't were women 
	like you.

Frank BACKHANDS him across the mouth. Samir says something 
in Arabic to Frank, who responds in kind.

		HUB
	Frank --

		FRANK
	Sorry. Family matter.
		(to Samir)
	You're going downtown, my friend.

		SAMIR
	You cannot hold me. I know my rights. 
	I watch American television.

		FRANK
	Defrauding the INS is a Federal 
	Offense.
		(hands Samir to waiting 
		agents)
	Reservation for one, please.

											CUT TO:

CTF HEADQUARTERS - LATER

They enter the BULLPEN. It's well past midnight. People are 
sacked-out in sleeping bags while others continue working.

		ELISE
	Club Fed.

Frank leans over Danny Sussman, who has fallen asleep, face 
down on his desk, and sings in a lovely brogue:

		FRANK
		(singing)
	"Oh, Danny-boy, the perps, the perps, 
	are call-ing...
		(as he awakens)
	We need a search warrant on Samir...

		HUB
	Frank, c'mere a sec. I want to show 
	you something.

He leads Frank into another CUBICLE. Perched on nearby desk, 
Elise is dialing a phone, she stops to watch them:

		HUB
		(quietly)
	Frank, you ever hit a prisoner again 
	I'll have your badge.

		FRANK
	-- Someday I will tell you what those 
	people did to my village in '71.

Hub waits for him to calm down.

		HUB
		(touches his arm)
	Okay. But right now, act as if I'm 
	capable of saying something funny... 
	Now, let's go see about that warrant.

As they walk back, Hub says to Danny:

		HUB
	Find me a Judge who'll play ball 
	this time. And set up a polygraph 
	for Samir.

		ELISE
	I still don't understand why we're 
	tipping our hand with him --

		FRANK
	What's there to tip?

		HUB
	You're just trying to protect your 
	asset.
		(to Elise, pointedly:)
	Aren't you, Elise --? He's your Joe, 
	your asset. He's working for you, 
	you're his case officer -- right?

How should she respond? How thin should she slice it?

		ELISE
	...Sometimes... in addition to being 
	a nationality, being a Palestinian 
	is also a... profession. A lucrative 
	one.

		HUB
	Meaning, he's your Joe.

		ELISE
	Mine. Yours. The Israelis. The Saudis. 
	At one time or another, everybody in 
	the Middle East has slept with 
	everybody else.

		FRANK
	So you're saying... you sleep around?

		ELISE
	Only professionally.

		HUB
	So we share him.

		ELISE
	No.

		HUB
		(to Frank)
	-- Call INS, find out his status and 
	start deportation proceedings.

		ELISE
	I can't let you do that.

		HUB
	Oh, you can't let me do that. What 
	precisely is your involvement with 
	these people.

		ELISE
		(sighs, then:)
	Samir's been a very important... 
	project of mine for some time... I'm 
	the only one he'll deal with. He's 
	very well-connected -- and extremely 
	high-strung.

		HUB
	...Call the judge.

		ELISE
		(looks at Frank)
	How easy is it to get inside, Frank? 
	How good are your sources in the 
	mosques? How many people you got in 
	Hamas --?

Franks shakes his head, ruefully. She's right.

		ELISE
	No surveillance. I've seen your deft 
	touch.

		HUB
	Daily reports. We tap his phone.

		ELISE
	And I get to see the transcripts.

		HUB
	Fair enough.

		ELISE
	And I run him.

		HUB
	We share him.

		ELISE
	He can't know we're talking.

		HUB
	Then don't tell him.

		ELISE
	Done.

		HUB
		(to Frank)
	Let him fly.
		(back to her)
	But we better start seeing product.

She nods. A deal. For now.

		HUB
	Any more surprises for me?

		ELISE
	Not tonight.

		HUB
	Then I'm going home to get some 
	things.

		FRANK
	I'll have somebody drive you.

		HUB
	I'll grab a cab.

And he's gone. Frank turns to Elise:

		FRANK
	Elise. I'm really high strung, too.

She just smiles and walks away.

OUTSIDE THE FEDERAL BUILDING -- MOMENTS LATER

Not many people around. Hub stands on the corner. A TAXI 
cruises up. On duty. Available. He slows long enough to see 
that Hub is black and passes right by.

AT A RED LIGHT

The taxi driver stops just long enough for Hub to slam his 
SHIELD on the windshield.

IN THE TAXI

Hub sits in back, hurtling into the night. The driver's ID 
identifies him as ABDUL HASSAM. Hub shakes his head.

IN THE SHOWER

As the hot SPRAY hits him, he runs his hands through his 
hair and feels the BITS OF SHATTERED GLASS. Dried blood runs 
off in rivulets from his hands. Not his own. He leans against 
the shower wall, closes his eyes.

											CUT TO:

ELISE -- BRUTALLY SLAPPED ACROSS THE FACE

We are in her apartment. Samir looms over her.

		SAMIR
	You let him HIT ME --!! You cannot 
	care about me and let such things 
	happen!

		ELISE
	Next time don't be such a smart ass --

		SAMIR
	Sometimes I hate you just because 
	you are so American. It makes me 
	want to hurt you. I think about 
	fucking you and hurting you.

Elise can taste the blood in her mouth -- but it's the price 
she's come to accept. In a heartbeat, it's all business.

		ELISE
	-- You want to fuck me? Then work 
	with me.

		SAMIR
	Don't tell me what I have to do.

		ELISE
	No? Do we really want to have this 
	conversation again? Do we --?

Something quietly ominous in her tone. He lowers his eyes. 
And like a sailboat, Elise changes tack. Strokes his arm.

		ELISE
	I need you to help me. I need you to 
	be strong. As you have always been 
	strong. For both of us. -- Samir? 
	Look at me...

BACK TO HUB -- WHO AWAKENS IN THE DARKNESS

He's fallen asleep in a chair. In his lap is a pile of visa 
applications. His BEEPER goes off. He rouses himself.

BACK TO ELISE -- ROUGHLY TURNED OVER IN BED BY SAMIR

Sex without any shred of tenderness. As Samir kisses the 
back of her neck, we SEE in her eyes the thousand-yard stare.

BACK TO HUB -- ON THE STREET

In the doorway of an apartment building, Frank hands Hub a 
styrofoam cup of coffee. It's a ritual between them.

BACK TO ELISE -- LYING IN BED AS SAMIR SMOKES

		SAMIR
	-- Some people just cannot live in 
	the camps. For my brother, it was 
	already like dying. The only thing 
	he lives for is movies.

He sits up in bed, reaching for another cigarette.

		SAMIR
	-- And then some sheik tells him 
	that, to die for Allah is beautiful. 
	If he does this thing, our parents 
	will be taken care of, and he will 
	live on in Paradise with seventy 
	virgins. Seventy.
		(sighs)
	And my brother, he needs to believe 
	it very much, so he straps ten sticks 
	of dynamite to his chest and goes to 
	the movies...
		(a rueful laugh)
	And I become a VIP. It is very 
	confusing.

		ELISE
	-- So who are you afraid of betraying? 
	You know these people. They bomb, 
	they maim. Do they represent the 
	Palestine you want to build?
		(looks at him)
	They're using you.

		SAMIR
	You are using me, too! Everybody 
	uses the Palestinians! We are the 
	whores of the Middle East!
		(looks at her)
	You make reports about our little 
	talks --? What about fucking me?

		ELISE
	I had to get special permission for 
	that.

As he stands up, naked, and goes to the window, we SEE:

THE SAME IMAGE

Seen again, FROM MUCH FARTHER AWAY by Hub who stands on a 
ROOFTOP across the way, watching through 1050 BINOCULARS. 
Frank stands beside him.

		FRANK
	Beats cable.

Sequence omitted from original script.

Sequence omitted from original script.

Sequence omitted from original script.

Sequence omitted from original script.

THE FEDERAL BUILDING -- NEXT MORNING

Hub heads for his office, his SECRETARY nods inside. Someone 
is waiting. It's Devereaux, in a civilian suit.

		DEVEREAUX
	Hi. I understand they call you Hub.

		HUB
	I know who you are, General.

		DEVEREAUX
		(offering his hand)
	Bill Devereaux.

		HUB
	I served in the --

		DEVEREAUX
	82nd Airborne, I know. Same time I 
	was running the --

		HUB
	-- 173rd. Put me through school.

		DEVEREAUX
	God. Duty. Honor. Country. Where on 
	Capitol Hill, Wall Street, or 
	Hollywood would you find one man 
	who's even paused over one of those 
	words in the last ten years?

Hub is unsure why he's audience to such a command performance.

		HUB
	What, uh, brings you here, General?... 
	Can I get you some coffee?

		DEVEREAUX
	You want me to get to the point. The 
	President's concerned. He's worried 
	that -- have you met him by any 
	chance?

		HUB
	No, sir, I haven't. I know -- reading 
	the papers -- terrorism's a real 
	concern for him. And your job is to --

		DEVEREAUX
	-- With all the affection for the 
	man I can tell you he doesn't know 
	fuckall about terrorism, or the 
	Mideast, that I don't put on his cue 
	cards. What he's expert in is his 
	own survival. You get my meaning?

		HUB
	I didn't guess you came all this way 
	for a cup of coffee.

		DEVEREAUX
	Agent Hubbard -- you look like you 
	think I'm here to take your baby 
	away!

		HUB
	With all respect for your expertise, 
	sir. We're on track here.

		DEVEREAUX
	Which is what I said to the President -- 
	the Army is not some big green police 
	department. Stick with the man on 
	the ground.

		HUB
	I appreciate your support.

		DEVEREAUX
	You're sure you're not chasing your 
	own tail, though?

Hub considers for a moment, then:

		HUB
	What do you know about Sheik Ahmed 
	Bin Talal?

		DEVEREAUX
	Old news.

		HUB
	Maybe not. We've received two 
	communications -- from the bombers 
	to "Release Him."

		DEVEREAUX
	We can't release him.

		HUB
	I know our stated policy is not to 
	negotiate with terrorists, but --

		DEVEREAUX
	Hub, we can't release him because we 
	don't have him. We never had him. 
	And besides that, he's dead.

		HUB
	The CIA says --

		DEVEREAUX
	The CIA? The CIA couldn't predict 
	the fall of the Berlin Wall until 
	bricks were hitting them in the head.
		(resuming)
	The Libyans snatched the Sheik -- 
	some sectarian Muslim thing -- I'll 
	explain it next time you have a free 
	week. They killed him. Qaddafi put 
	out disinformation that it was us... 
	Who was your source on this?

		HUB
	Elise Kraft.

		DEVEREAUX
	...A woman will never know the Middle 
	East. You're talking about a culture 
	that keeps its women slipcovered. 
	Elise Kraft can't tell a Sheik from 
	the prophylactic of the same name.

		HUB
	I appreciate the heads up.

Devereaux rises, offers his hand. As they shake, Elise sticks 
her head in the door without knocking.

		ELISE
	Hub, we've got Judge Frankel in --
		(as Devereaux turns 
		around)
	Oh. Hello, General.

		DEVEREAUX
	Please, don't let me --

		ELISE
		(to Hub)
	Sorry. That tip on the landlord looks 
	solid. The judge will see us right 
	away.

		DEVEREAUX
	Sounds like I should get out of your 
	way. We're there if you need us.
		(at the door; to Elise)
	Your father well, Elise?

		ELISE
	As can be expected. How's Maggie?

		DEVEREAUX
	Top of her game.
		(heads out)
	Well, go get 'em.

And he's gone. Elise turns to Hub.

		ELISE
	Making new friends.

		HUB
	How's your lip --?

She looks at Hub -- and now she knows that he knows. She 
brazens it out:

		ELISE
	So... you like to watch --?

		HUB
	No. Just learning about commitment.

		ELISE
	It's a full contact sport.

											CUT TO:

JUDGE'S CHAMBERS -- DOWNTOWN

Judge Frankel, 60, puts down his sandwich and wipes his hands.

		JUDGE FRANKEL
	-- You're telling me that just because 
	some Brooklyn landlord tips you off 
	that he's been paid in cash, you 
	have the right to call in the cavalry --
	! Hub, as far as I know, paying cash 
	is not yet a crime in this country.

		HUB
	You're not hearing me. This Khalil 
	was carrying cash for --

		JUDGE FRANKEL
	-- You've observed him giving cash 
	to --

		HUB
	... No, but --

		JUDGE FRANKEL
	-- But you have hard evidence linking 
	this apartment to the people that 
	blew up bus 87 --?

Elise sits quietly beside Frank, observing Hub's trials.

		HUB
	I know we'll turn up trace elements 
	of semtex, chemicals... something.

		JUDGE FRANKEL
	And when you do, you'll get your 
	warrant.

		HUB
	What about as a feasibility study?

		JUDGE FRANKEL
	Meaning?

		HUB
	We enter first, take a look, then 
	fill out the warrant.

		JUDGE FRANKEL
	Tell me the difference between that 
	and breaking-and-entering?

		HUB
	We're the good guys.

		JUDGE FRANKEL
	Not good enough.

		HUB
	What is good enough, Judge? Another 
	bus? A school, maybe. These things 
	come in waves.

		JUDGE FRANKEL
	Waves mean nothing to me; there's 
	been a wave of violent crime committed 
	by black people in this city for the 
	past twenty years, but if you came 
	to me with a plan to put all black 
	people behind bars as a preventative 
	measure I'd send you packing. There's 
	a price to be paid for living in a 
	free society --

		HUB
	-- and not in cash I guarantee it.

Hub catches Elise's eye -- "we're out of here."

THE STAIRCASE OF A TENEMENT

Elise and Hub climb seemingly endless FLIGHTS OF STAIRS.

		ELISE
	-- Not two Judges from now, not two 
	HOURS from now, not two MINUTES from 
	now. These guys could split any SECOND 
	and you've lost your best shot at --

		HUB
	Frank's working another warrant --

		ELISE
	You don't understand, they're pros! 
	From the age of twelve they've been 
	dodging people like you, people better 
	than you.

		HUB
	You mean people like you?

		ELISE
	-- no matter how sparkling your record 
	is, no matter how terrified you are 
	to fail --

Finally he stops, turns on her:

		HUB
	It's... against... the... law.

		ELISE
	-- Just because you went to night 
	school, or filled out the back of a 
	matchbook or whatever you did to get 
	a law degree doesn't make you Sir 
	Thomas More.

		HUB
	Just because you talk the talk doesn't 
	make you an expert. And just because 
	you read my file doesn't make you an 
	expert on me.

		ELISE
	You're gonna lose them and they're 
	gonna do another horrible --

		HUB
	-- You think I want to lose them. 
	Where do you get off talking that 
	shit.
		(controls himself...)
	If I don't take 'em down properly 
	they'll be on the street two hours 
	from now. I could find dynamite, 
	semtex, plutonium and a book of 
	matches in there and unless I've got 
	the right warrant it's all 
	inadmissible

		ELISE
	They've also got a warrant. A warrant 
	from God. They're ready to die! And 
	your quaint laws don't mean shit to 
	these people.

		HUB
	My quaint laws? Last I checked you 
	were an American citizen. And these 
	happen to be the only laws we got.
		(turns on her)
	Look, I'm just a cop, okay, and I'm 
	real sorry the cold war's over, and 
	you Masters of the Universe got 
	nothing going on over there in 
	Afghanistan or Iraq or wherever -- 
	but you're just not in the Middle 
	East anymore...

		ELISE
	Oh, really...?

They reach the top of the stairs where Frank is waiting. He 
dangles a piece of paper -- the warrant -- and grins.

IN THE SAME SQUALID APARTMENT BUILDING -- LATER

Hub looks through the surveillance equipment focused on an 
apartment across the street -- paper shades drawn. Wearing a 
set of HEADPHONES, Elise listens intently to the Arabic 
conversation.

		ELISE
	They're discussing how hard it is to 
	find a decent cup of coffee over 
	here.
		(hands headset to 
		Frank)
	I make out three voices. What do you 
	have on the infrared?

		FRANK
	Three sounds right. If we had 
	microwave we'd know for sure. The 
	CIA's got microwave, how come we 
	don't have microwave.

Hub, meanwhile is question a Syrian Landlord.

		LANDLORD
	-- three of them. All day long they 
	watch tv. And eat pizza. Nothing but 
	pizza, pizza, pizza...

Hub looks over at Frank. They've got a way in.

											CUT TO:

Sequence omitted from original script.

Sequence omitted from original script.

DARK HALLWAY -- DAY

Mike Johannson, carrying two PIZZAS, knocks on a door.

IN THE SHADOWS BELOW

Hub, Frank, and a small army of AGENTS lock and load.

A YOUNG ARAB

Opens the door to the length of a chain and hands Mike a 
twenty-dollar bill.

		MIKE
	You want change, right --?

		YOUNG ARAB
	No.

		MIKE
	You gonna open the door, or what --?

The Arab motions, leave them on the ground.

		MIKE
	Jesus, didn't ya hear crime's down 
	seven-percent...

Muttering, he sets the pizza down and heads downstairs. After 
a moment we HEAR the chain pulled and the door open.

IN THE APARTMENT

The Young Arab sets the pizza on an orange crate. Two other 
YOUNG ARABS in the next room barely take their eyes off the 
rerun of "Hunter." But as the young Arab opens the box:

A STUN GRENADE

Hidden within, EXPLODES with a blinding FLASH, knocking him 
to the ground.

THE APARTMENT DOOR

Is blown in as armed AGENTS rush in, Hub leading the way.

		FBI AGENTS
		(English and Arabic)
	FBI --! Lie down on the floor with 
	your hands behind your back --!

THE TWO OTHER YOUNG ARABS, HOWEVER --

Have not been affected. Not only were they in the next room, 
but also their eyes were averted from the FLASH.

THEY COME UP FIRING

But only get off half a clip each before they are CUT DOWN 
by a fusillade of FBI return-fire.

ON THE GROUND

The Young Arab, momentarily disoriented, stumbles to his 
feet, only to be confronted by six armed agents -- all aiming 
at his chest.

		FRANK
	Drop your weapon!

The terrorist puts his gun to his mouth and PULLS THE TRIGGER.

A STILLNESS

As the CORDITE drifts lazily toward the ceiling, Hub calls 
out from behind the table:

		HUB
	What about the others? See if we can 
	get a pulse --

Other Agents scurry in to hover over the inert BODIES.

		FRED
	Terminal.

		MIKE
	Same here.

		ELISE
		(softly)
	Gone.

Hub picks himself up in time to see Elise, kneeling beside 
the body of the Young Arab, her hand on his boyish chest.

		MIKE
	We got semtex, we got detcord, same 
	stuff as the bus, the whole 
	enchilada...

A few WHOOPS and high-fives as the adrenaline rush of the 
firefight abates. Frank opens the remaining box.

		FRANK
	Anybody like anchovies --?

Then from across the room, Hub kneels beside an ominous-
looking DEVICE. A claymore mine.

		HUB
	Goddamn it. GODDAMN IT.

		FRANK
	What --?

		HUB
	It didn't fire. They had it rigged 
	to the door and it didn't fire.

Frank stares at the lethal booby-trap. Hub shakes his head.

		HUB
	We're too old to be lucky, Frank.

											CUT TO:

A DOWNTOWN BAR -- LATER THAT NIGHT

Where Mike and Tina are dancing their asses off. Around them, 
other AGENTS from the takedown laugh and drink.

AT A NEARBY TABLE

Hub and Elise sit, watch them cut loose.

		ELISE
		(sips her drink)
	My first boyfriend was Palestinian. 
	My father liked to say, they seduce 
	you with their suffering.

A WAITRESS brings her another drink.

		ELISE
	You ever been over there --?
		(he shakes his head, 
		no)
	...The courtesy with which they 
	welcome you into their homes. And 
	the people, these incredibly... warm 
	people in this... austere land.

		HUB
	But you work against them.

		ELISE
	Only the crazies. I tend to be 
	suspicious of all true believers.
		(looks at him)
	Present company included.

		HUB
	So I'm a fanatic.

		ELISE
	Let's just say you don't seem the 
	ambivalent type.

		HUB
	Is that right?

		ELISE
	So why're are you a fed?

		HUB
	That's what my nephew keeps asking 
	me. "Why you with The Man, Unc?"

		ELISE
	...Well? What'd you tell him?

		HUB
	You read my file. You tell me.

		ELISE
	Let's see... Catholic school. Captain 
	of this, president of that. Hard 
	work, fair play, make a difference, 
	change the system from within. Rah. 
	Rah. Rah.

		HUB
	That was in my file?

		ELISE
	...Tell me I'm wrong.

He studies her for a moment.

		ELISE
	...What --?

		HUB
	You believe in anything, Elise --?

		ELISE
	Like what, for instance?

		HUB
	How about right and wrong?

		ELISE
	It's easy to choose between right 
	and wrong. What's hard is choosing 
	the wrong that's more right. I just 
	want to make it all... a little... 
	better.
		(finishes her drink)
	Ignore me. I'm shitfaced.

Frank appears to lean over their table.

		FRANK
	So am I --! Hey, Elise... tell us 
	about being a spook? Ever meet Aldrich 
	Ames? Weren't you at the Bay of Pigs?

		ELISE
	You were in charge of Waco, right --
	? Or was that Ruby Ridge?

		FRANK
	The Shah of Iran, Noriega, I love 
	the way you guys predicted the 
	collapse of the Soviet Union.

		ELISE
	Yeah, yeah, yeah... And J. Edgar 
	Hoover wore a dress.

She laughs and stands up to dance:

		ELISE
	What do you say, Hub...? Peace?

But as he grudgingly stands up, a BALLAD comes on. They stand 
there awkwardly. Finally, he takes her into his arms.

		ELISE
	This feels like high school.

		HUB
	-- only my prom date wasn't packing 
	a gun.

		ELISE
	Mine's a 9 mm. How big is yours?

		HUB
	Two inches. From the ground.
		(laughing, they dance 
		closer)
	So what's the latest from Samir. I 
	want a list of every visa he 
	sponsored.

		ELISE
	Not sure he'll do it.

		HUB
	I once knew this undercover guy, 
	started to care so much about his 
	source --

		ELISE
	-- Samir's a source. Period.

		HUB
	Have you considered that he might 
	also be in bed with the other side?

		ELISE
	Samir in bed with them? That would 
	too much to wish for.

		HUB
	You're so confident.

		ELISE
	Only in bed.

Tina watches them. She rolls her eyes at Frank. And then:

THE GROUND SHAKES

A low RUMBLE as the light FLICKERS and the chandelier sways.

		FRANK
	Whoa... What do they put in these 
	drinks --?

		TINA
	They got earthquakes in Manhattan?

But Elise is not too drunk to make her way to the door. Hub 
joins her. Already, in the distance, the WAILING OF SIRENS.

IN THE TOWN CAR -- SPEEDING UPTOWN ON MADISON AVE

Blue light FLASHING. Hub, Elise and Frank sit grimly silent.

TRAFFIC

Is snarled and gridlocked at 40th. Finally, they can take it 
no longer and step out into a chorus of HONKING HORNS.

THEY BEGIN TO RUN

Past the frustrated drivers. Turning the corner at 41st where:

SMOKE BILLOWS

From the New Victory Theatre -- where a gala benefit is taking 
place.

GIRL IN A PRADA GOWN

Walks toward CAMERA. She's stunning. From the jeweled 
clutchbag to the tasteful necklace, everything is perfect, 
except:

HER RIGHT ARM IS MISSING

And now we SEE:

THE BLACK-AND-WHITES

Haphazardly pulled-up over the steps and the FIRETRUCKS 
already unspooling their hoses. Cops, Firemen, EMT's. 
Everybody's SCREAMING. Hub and Elise race past.

MAN IN BLACK TIE

Sits, weeping quietly beneath the once proud stone lions.

THE FEW SURVIVORS

Their faces cut and bleeding, stumble around, disoriented. 
As Hub and Elise continue toward a SOUND we have never heard 
before in this country. A kind of keening.

A NYPD SERGEANT is the senior OFFICER on the scene. Hub shows 
his shield to the man who appears a bit shell-shocked.

		NYPD SERGEANT
	-- fucking bastards waited 'til 
	intermission. Everybody standing 
	around... Oh, Jesus...

GLASS crunching underfoot, they can only watch as horribly 
disfigured BODIES are carried out. A NEWS REPORTER shoves a 
microphone in Hub's face.

		NEWS REPORTER
	Is it true the governor was attending 
	tonight's benefit --?

		HUB
	I don't know.

		NEWS REPORTER
	Who it is I'm speaking to --?

Hub ignores the reporter. He sees that Elise is already 
tearing off part of her skirt to bandage a SOCIETY MATRON. 
He takes off his coat and goes to work beside her.

											CUT TO:

A DARKENED AIRPLANE

Hub sits alone.

		PILOT (O.S.)
	Folks, as you can probably tell, we 
	have begun our descent into 
	Washington's National airport.

THE HIGH-PITCHED WHISTLING SOUND IS HEARD AGAIN

Hub reaches up to his DAMAGED EARS. As anyone who's ever 
flown with a sinus problem knows, the pain is excruciating.

		STEWARDESS
	-- You alright?

But we can only LIP-READ her question. He's sweating now. 
Over this, we HEAR:

		ARMY GENERAL (V.O.)
	Either we answer this threat quickly 
	and convincingly or next week there'll 
	be a hundred more all over the world.

Sequence omitted from original script.

ON CAPITOL HILL -- LATER THAT DAY

As Hub climbs the steps toward the gleaming dome, the debate 
continues within:

		CONGRESSMAN MARSHALL (V.O.)
	Sounds great, General, except why 
	can't we find out who's behind it --
	?

IN THE ROTUNDA LIBRARY

A strategy session chaired by General Devereaux. Sleeves 
rolled up, silver coffee service. Staff members abound.

		FBI DIRECTOR
	These sects are organized so you 
	need a kill to your credit to get 
	inside. It makes undercover operations 
	impossible. What that leaves us is... 
	we're working on it.

		SENATOR WRIGHT
	How about who's behind who's behind 
	this?

		CIA DIRECTOR
	Libya. Iraq. Iran. Possibly Syria.

		CHIEF OF STAFF
	Ask a question. Get an atlas.

		SENATOR WRIGHT
	All I know is that we must respond.

		CHIEF OF STAFF
	Respond, sure. But how?

		SENATOR WRIGHT
	Find out who it is and bomb the shit 
	out of them.

		CHIEF OF STAFF
	And if we can't find out --?

The question hangs in the air.

		CONGRESSMAN MARSHALL
	Look it keeps escalating. First a 
	bus, then the theatre. What's next?

		SENATOR WRIGHT
	Anything but leadership.

		DEVEREAUX
	With all respect, Senator, why don't 
	we just stipulate that the President 
	is a dumb son of a bitch so we can 
	all get down to business.

An icebreaker. Everyone laughs.

		CONGRESSMAN MARSHALL (V.O.)
	What about sending in the Guard?

		ATTORNEY GENERAL (V.O.)
	The National Guard are trained for 
	riot control not counter-terrorism.

		SENATOR WRIGHT
	The Army then. I've seen the 
	contingency plans.

		ATTORNEY GENERAL
	It's settled legal doctrine, posse 
	comitatus, that the Army not be turned 
	against our own people.

		SENATOR WRIGHT
	Even if that's what our own people 
	are asking for, three to one?

		SPEAKER OF THE HOUSE
	If the President is willing to declare 
	a State of Emergency --

		SENATOR WRIGHT
	President Lincoln declared martial 
	law in 1862. He suspended --

		ATTORNEY GENERAL
	-- which the Supreme Court later 
	found un-constitutional. Ex parte 
	Milligan.

		CONGRESSMAN MARSHALL
	And I've got an election in November. 
	Ex-United States Congressman.

		CHIEF OF STAFF
	Guys, guys, the President lost a lot 
	of friends last night --

		CONGRESSMAN MARSHALL
	Not to mention six points in the 
	polls.

		CHIEF OF STAFF
	-- And his plane lands in two hours. 
	We owe it to him to have a consensus.

		SPEAKER OF THE HOUSE
	You don't fight a junkyard dog with 
	ASPCA rules. What you do is take the 
	leash off your own, bigger, meaner 
	dog.

		CHIEF OF STAFF
	...General?

		DEVEREAUX
	The Army is a broadsword not a 
	scalpel. You do not want us in an 
	American city.

		CHIEF OF STAFF
	But hypothetically... how long would 
	it take you to --

		DEVEREAUX
	We only go if the President invokes 
	the War Powers Act.

		CHIEF OF STAFF
	I understand that, General. Let us 
	imagine, though, for a moment, that 
	the order has been given.

CLOSE on Devereaux. As he weighs his remarks, we FLASHCUT, 
almost imperceptibly to:

AN ANONYMOUS ROOM

As WATER is poured over anonymous hands in a ritualized 
manner. O.S. we HEAR the SOUND of chanting.

BACK TO -- THE SITUATION ROOM -- SAME TIME

		DEVEREAUX
	...Twelve hours after the President 
	gives the word we can be on the 
	ground. One light infantry division 
	of ten thousand seven hundred men. 
	Elements of the Rapid Deployment 
	Force combined with Special Forces -- 
	Delta. APC's, tanks, helicopters. 
	And of course, the ubiquitous M-16A1 
	assault rifle, a humble weapon until 
	you see a man carrying one outside 
	your local bowling alley or Seven-
	Eleven. It will be noisy, it will be 
	scary and it will not be mistaken 
	for a VFW parade.

BACK TO -- THE ANONYMOUS ROOM

Where the same anonymous hands lift a cotton shroud. We watch 
in SLOW-MOTION as it drifts down a shoulder.

BACK TO -- THE SITUATION ROOM

		DEVEREAUX
	That means civilian casualties. At a 
	minimum it's a drunk private joyriding 
	in a Hummer who runs down an old 
	lady in Greenpoint. At a maximum...
		(sighs)
	Make no mistake. We will hunt the 
	enemy. We will find the enemy. And 
	we will kill the enemy.

BACK TO -- THE ANONYMOUS HANDS

Turning the key in an ignition. An engine rumbles to life.

BACK TO -- THE SITUATION ROOM

		DEVEREAUX
		(looks at them)
	And no card-carrying member of the 
	ACLU is more deadset against it... 
	than I am. Which is why I urge you... 
	no, I implore you not to consider 
	this option.

A long beat. The Chief of Staff sighs.

		CHIEF OF STAFF
	I know what the President will say.

		DEVEREAUX
	What's that?

		CHIEF OF STAFF
	That's exactly why you're the only 
	man for the job.

BACK TO -- A VAN

Emerges from a dark garage like a beast from a cave.

BACK TO -- THE SITUATION ROOM

The Army General speaks up.

		ARMY GENERAL
	I remind you General Devereaux does 
	not speak for official Army policy. 
	A police function has become accepted 
	as our role in Haiti, in Somalia --

		HUB
	-- Could I interrupt?

Everyone looks over at Hub. Devereaux smiles.

		DEVEREAUX
	That's Anthony Hubbard, FBI. He's 
	the ASAC on the ground up there. 
	They took out the first cell less 
	than 36 hours after bus 87. I suggest 
	we hear what he has to say --

He nods to Hub, who acknowledges the vote of confidence.

		HUB
	There is something you probably 
	haven't thought about doing?

		CHIEF OF STAFF
	And that is --?

		HUB
	Nothing. Don't over-react.
		(off their incredulity)
	With all respect, gentlemen, I'm 
	just a cop. To you these people may 
	be martyrs, but to me they're 
	criminals. And a criminal is no more 
	than somebody who thinks he's better 
	than everyone else. And he's not 
	better. He only has to be wrong once. 
	And that's where we come in. We run 
	down a tip from a landlord, or we 
	pick up a latent print from a bus. 
	Our phones are ringing off the hook 
	with people from the Arab community 
	wanting to help.

He measures his words carefully. Unaccustomed to these kind 
of august circumstances.

		HUB
	They love this country and they hate 
	that these criminals are giving them 
	a bad name. With their help and some 
	old-fashioned shoe leather, we'll 
	nail these guys.

		DEVEREAUX
	-- Amen to that.

		CHIEF OF STAFF
	Thank you, Agent Hubbard. I, too, 
	think we should proceed cautiously.
		(looks around)
	Now we've got an Agency briefing 
	prepared... Some of you may not know 
	Sharon Bridger. Sharon was posted in 
	Iraq as part of our covert operations 
	during the Gulf War. -- Sharon...

CLOSE ON -- HUB as, from behind him, comes a familiar VOICE:

		ELISE
	We all know the traditional model of 
	a terrorist network. One cell 
	controlling all others. Cut off the 
	head and the body will wither.

Hub looks to the back of the room at Elise, who's no longer 
Elise. She looks blithely at Hub as if nothing is amiss.

		ELISE
	Unfortunately the old wisdom no longer 
	applies. The new paradigm is like 
	the myth of the Hydra. Each cell 
	exists independent of the other. Cut 
	off one head and another rises up in 
	its place.

ANOTHER FLASH CUT -- THE VAN

Crossing the Brooklyn Bridge, keeping well below the speed 
limit. In the distance, the glass towers of Manhattan.

BACK TO -- THE SITUATION ROOM

		ELISE
	Bus 87 was the work of Cell #1. Its 
	elimination only activated the work 
	of Cell #2 -- the theatre gala.

FLASH CUT -- THE VAN

Turns up Wall Street. Frank Haddad and Danny exit THE FEDERAL 
BUILDING. They pass Mike and Fred, heading back in. Something 
about the van causes Frank to take notice.

BACK TO -- THE SITUATION ROOM

		CHIEF OF STAFF
	And Cell #3? How do we find Cell #3?

Everyone looks to Sharon/Elise. Hub looks at her, too.

CLOSE ON -- SHARON/ELISE

The question hangs in the air. She's thinking about something. 
What?

ANOTHER FLASH CUT -- THE VAN

JUMPS THE CURB and heads across the plaza on A COLLISION 
COURSE with the glass lobby of the FEDERAL BUILDING. Frank 
and Danny are rooted to the ground.

BACK TO -- THE SITUATION ROOM

Close on Sharon/Elise. As time elongates. She knows.

		ELISE
	We don't know.

Sequence omitted from original script.

					DISSOLVE TO:

WHITE SCREEN (ALL SOUND OUT)

Puffy clouds in a blue sky. As we TILT DOWN into:

THE GUTTED RUIN

Of what was once the Federal Building. RESCUE WORKERS hunt 
for SURVIVORS as others carry BODY BAGS toward waiting 
AMBULANCES. Hub stands sentinel to the grisly process as 
indeed he has stood there all night. Frank is beside him.

		HUB
	-- Are they confirmed?

		FRANK
	Fred, Whitney, we're waiting on who 
	else...

A JEEP pulls up and Elise/Sharon gets out.

		HUB
	Sharon.

Their silence speaks volumes. With Sharon is an OFFICER.

		ELISE
	This is Colonel Hardwick. Army 
	Intelligence.

		HUB
		(shaking hands)
	Anthony Hubbard. Average intelligence.
		(clocking him)
	But 'til I hear otherwise this is 
	still my show.

		COL. HARDWICK
	I'm here as an advisor only. I intend 
	to keep a low profile.

		HUB
	I appreciate that, Colonel.

		COL. HARDWICK
	I don't mean to be insensitive, but 
	what, exactly, are your capabilities 
	at this point? Your... infrastructure --

		HUB
	You're standing on our infrastructure. 
	Excuse me.

Hub walks back toward the rubble. Sharon watches him go.

											CUT TO:

HUB'S APARTMENT -- THAT NIGHT

Sofas have been pushed against the wall. Hub's apartment now 
serves as a temporary command post. Agents huddle together -- 
poring over the charred or soggy remnants of files.

		FLOYD
	-- They managed to get a partial 
	VIN# off the van. DMV says it was 
	reported stolen the day before in --

		HUB
	-- Brooklyn.

		DANNY
	Fiber thinks they've come up with a 
	piece of the shroud. Egyptian cotton.

Frank joins them.

		FRANK
		(grim)
	We just got a confirmation on Mike. 
	He was with Fred in the lobby.

		HUB
	How many does that make it --?

A KNOCK on the door. They look at one another. One of the 
agents answers it. Elise/Sharon. She walks over to them.

		ELISE
	I'm... very sorry... about your 
	friends.

		HUB
		(giving her nothing)
	Frank. This is Sharon.
		(to her)
	-- I didn't catch the last name.

		ELISE
	...Bridger. How ya doin' Frank?

		FRANK
	Been better.

She nods. Takes from her purse a folder, labeled in Hebrew.

		ELISE
	The agency has come up with another 
	list of probables.

She takes out photos. Neither Hub nor Frank react. She puts 
them on the coffee table. No one reaches for them.

		ELISE
	I think we should circulate them.
		(they stonewall her:)
	Hey, this stuff may be good.

		HUB
	Why was there no warning from Samir?

		ELISE
	Because he didn't know anything.

		FRANK
	Says Samir.

		ELISE
	Says me.

		HUB
	Maybe I'll ask him.

		ELISE
	Over my dead body.

		HUB
	Over six hundred dead bodies.

They stare at one another. Both are tired and raw.

		ELISE
	Look, he's one of the good guys. 
	Okay?

		HUB
	How the fuck can you be so sure?

		ELISE
	Because he helped me recruit the 
	network in Iraq. OKAY?

He just stares at her.

		ELISE
	We were part of the operation to 
	destabilize Saddam Hussein. Printing 
	up fake dinars, arming the Kurds --

		HUB
	-- and financing the Sheik.

		ELISE
	He's Iraqi. He was going to be our 
	Ayatollah Khomeini --

		HUB
	-- And help bring down Saddam.

		ELISE
	I ran the network. Samir was the go-
	between. He risked his life for us 
	over there.

		HUB
	So who are they? Give me names, Give 
	me pictures. Not some history lesson.

		ELISE
	I can't give you pictures because I 
	don't know what they look like. We 
	did everything at arm's length.

		HUB
	So you got nothing.

		ELISE
	I've got Samir.

		HUB
	Has he had any contact with them?

		ELISE
	Minimal.

		HUB
	How does he do it?

		ELISE
	He can't. They initiate.

		HUB
	And otherwise...

		ELISE
	He's waiting.

		HUB
	He's waiting? What's he waiting for? 
	More bodies? We got lots more 
	buildings in midtown, maybe he's 
	waiting to see how many they can 
	blow up.

		ELISE
	Look, I know how you must feel --

		HUB
	YOU DON'T KNOW SHIT HOW I FEEL -- MY 
	FRIENDS ARE DEAD. HUNDREDS OF PEOPLE 
	ARE DEAD.

		ELISE
	They'll make contact soon.

		HUB
	How?... Why soon?

She looks at him, refusing to divulge anything more. Suddenly, 
Hub grabs her arm and roughly shoves her into:

THE BATHROOM

		HUB
		(viciously)
	What's the tradecraft, Sharon? 
	Ironsites, visuals? I love all that 
	spy shit.
		(still, she says 
		nothing)
	I'm gonna haul your boy downtown, 
	strap his ass to a polygraph and ask 
	him all about you. Then I'm gonna 
	send the transcripts to a friend of 
	mine at the Times who just loves to 
	write about the latest CIA link to 
	some political horror show.

		ELISE
	You burn him, you lose any chance 
	you ever had.

		HUB
	It's lose-lose from here on in, who 
	said that?

		ELISE
	I'm not fucking with you.

		HUB
	How can you possibly remember who 
	you're fucking?

She slaps him, hard. Without hesitation he slaps her back. 
She claws at his face, but he grabs her wrist and bends her 
arm behind her back.

		ELISE
	I need... more time. Please. You're 
	hurting me. Please...

Something in the violence of the moment is more than a little 
charged.

											CUT TO:

VARIOUS SHOTS -- THE SURVEILLANCE OF SHARON AND SAMIR

A dead drop by a hot dog stand. Out for her morning jog. A 
series of FREEZE FRAMES as the motordrive CLICKS AND WHIRS.

		FRANK (V.O.)
	That's good sound.

		HUB (V.O.)
	Except they're not saying anything 
	worth listening to.

Sequence omitted from original script.

IN A HAMMAM (BATH-HOUSE)

Samir chats with a couple of older men in the steaming waters. 
MORE FREEZE FRAMES:

		FRANK (V.O.)
	One's his uncle, he owns the place. 
	The other's a doctor. They check out 
	clean.

		HUB (V.O.)
	He go there every day?

		FRANK (V.O.)
	A clean body and a pure heart.

Sequence omitted from original script.

Sequence omitted from original script.

A TV LOGO: FOX NEWS SPECIAL REPORT: NEW YORK UNDER SIEGE

		NEWSCASTER (V.O.)
	"Tonight we take a close look at the 
	tragic sight of a city under siege."

HUB'S APARTMENT

Hub sits on his sofa, watching the special report. Spread 
out before him, the surveillance PHOTOS of Sharon and Samir.

VIDEO CLIPS

A deserted Times Square. Police checking packages of shoppers 
in front of a department store. Long lines of security at 
bus stops.

EXT. DOWNTOWN - NEXT MORNING

Hub and Frank are walking downtown. At a stoptlight, A BUS 
idles beside them, a POLICEMAN onboard.

		RADIO DJ (V.O.)
	-- claiming responsibility for the 
	bombing. In other news, a cab driver 
	was beaten and his cab set on fire. 
	The driver, Rashid Abu --

ANOTHER CAR. TALK RADIO:

		TALK RADIO (O.S.)
	-- the Jews, man. When they say, 
	jump, we say, how high. I say we --

		FRANK
	-- If you're on the State Department 
	Terrorist Watch list you cannot get 
	into this country. But Ali Waziri 
	was on the watch list, and he got 
	in.

		HUB
	Did you call the State Department?

		FRANK
	They told me to call INS.

		HUB
	-- And?

		FRANK
	They told me to call State.

		HUB
	Don't you just love government?

THE EXPLOSION

Is only the BUS backfiring. PEDESTRIANS who have thrown 
themselves to the ground, screaming, now pick themselves up, 
Laughing. Only Hub and Frank are not laughing.

NEWS ANCHOR DESK

		NEWSCASTER
	"As many fled, there were others who 
	stayed behind to pay the price...

VIDEO CLIPS

Jammed freeways; A LOOTED corner deli, its Arab owners, 
bloodied: POLICE checking backpacks at an elementary school.

		NEWSCASTER (V.O.)
	Today, as hundreds of law enforcement 
	officials gathered in a Broadway 
	theatre, outside people wanted 
	answers.

VIDEO CLIPS

Angry people, scared people. Hub, being interviewed about 
the coordinated efforts of law enforcement.

		NEWSCASTER (V.O.)
	Already there is talk of a protest 
	march by a coalition of --

INSIDE THE THEATRE (A VIDEO CLIP TURNS BACK TO FILM)

Hub and a few others sit on the stage. Two hundred law 
enforcement officials fill the orchestra seats.

		MAYORAL AA (V.O.)
	THE PEOPLE OF THIS CITY HAVE A RIGHT --

		DANNY (V.O.)
	-- THE PURPOSE OF THIS MEETING --!

		MAYORAL AA
	-- IS TO MAKE THIS CITY SAFE...! And 
	your department --

		DANNY
	My department WHAT, ASSHOLE...?

Sharon stands at the back, meets Hub's eye, and waves.

		DISTRICT ATTORNEY
	Guys... GUYS...

EVERYBODY'S talking at once. In frustration, Hub covers a 
microphone with his hand. The FEEDBACK silences the room.

		HUB
	Sorry. From now on, we will raise 
	our hands and wait to be called on --

An appreciative chuckle. Hub points to A MAN IN A SUIT.

		INS OFFICIAL
	Howard Kaplan. INS. So we've pulled 
	every ethnic visa in the city and 
	traced them to source. Who wants em?

		HUB
	Danny --?

		DANNY
	We bring 'me in, have a talk.

		UNIFORM COP (V.O.)
	What about translators --?

		DISTRICT ATTORNEY (V.O.)
	How many people we talking about 
	here?

		INS OFFICIAL
	Sixteen hundred, maybe more.

		DANNY
	Where the hell we gonna put sixteen 
	hundred people?

Everyone again begins speaking at once. Hub takes control.

		MAN IN SUIT
	What about a military presence at 
	JFK and LaGuardia --?

		HUB
	I don't think we're there yet. It's 
	also not going to stop these people.

		MAYORAL AA
	What about protecting the Arab 
	population? There's a lot of anger --

		ARAB SPOKESMAN (V.O.)
	I represent the American-Arab Anti-
	Discrimination Committee. Whatever 
	injustices my people may be suffering 
	at this difficult moment, we will 
	continue to show our patriotism and 
	our commitment to this country.

		HUB
	Thank you, sir. And to everyone else 
	for their patience today. These are 
	extremely difficult times -- London, 
	Paris, we're not the first city to 
	have to deal with this.

He pauses a moment, searching for the words.

		HUB
	In Tel Aviv, the day after they blew 
	up the market, the market was full.
		(looks out at them)
	This is New York. We can take it.

And then two hundred BEEPERS all go off at once. Everyone 
looks at one another. Dear God, what now...

A GRAINY BLACK & WHITE VIDEO IMAGE

Kids, huddled in a corner, crying. A dead mom. The legs of 
what we imagine is the terrorist. We are in:

AN ELEMENTARY SCHOOL -- AN UPSTAIRS HALLWAY

Hub huddles with other agents behind a makeshift blast-
barricade of desks and tables. Sharon kneels beside them.

		DANNY
	-- one of the moms was carrying a 
	piece, wounds the guy as he's planting 
	the device. He kills her and locks 
	them all in.
		(points at video)
	Up there in the corner... by the 
	clock.

The probe is a hot-head, "arthroscopic" video camera.

		DANNY
	-- It's got a timer on it only we 
	don't know how much time is left.

As Hub stares at the horrifying image, the WHITE-NOISE returns 
and begins to GROW in his head.

		HUB
	Closer on the timer.

		TECHNICIAN
	I'm trying but the angle's wrong...

The NOISE in Hub's head continues to grow. And then suddenly 
it is compounded by the SOUND of an APPROACHING CHOPPER -- 
as an NYPD SWAT HELICOPTER lowers itself into view.

		FRANK
	What the fuck is the NYPD doing here?!

		DANNY
	I don't know. Somebody must have --

		FRANK
	-- WE'VE RUN DRILLS ON THIS 
	JURISDICTION BULLSHIT SINCE --

		DANNY
	I KNOW --! YOU THINK I --

		HUB
	QUIT BICKERING AND FIX IT!

In the HELICOPTER -- a Marksman raises a sniper's rifle.

THE WHITE NOISE

Is screaming now in Hub's head. Unimaginable. Unbearable.

		DANNY
		(on his radio)
	NYPD SWAT, this is the FBI. Get that 
	bird the fuck out of there!

The SOUND of the CHOPPER and the WHITE NOISE drown him out.

ON THE VIDEO MONITOR

Children are SCREAMING without sound. Even the chopper is 
drowned out by the WHITE NOISE.

IN THE CHOPPER

The MARKSMAN takes careful aim --

IN THE CLASSROOM

The TERRORIST grabs a child as a human shield. Hub closes 
his eyes to the imminent nightmare, and then:

SUDDENLY, WITHOUT WARNING --

He takes off, barreling down the hall, toward the locked 
door of the classroom.

THE DOOR SPLINTERS

He flies through it, firing, hitting the TERRORIST twice.

AN EXPLOSION

Much like the first one on Bus 99. Hub throws himself over 
several SCREAMING CHILDREN. And for a moment we don't know 
if they'll live or die, until:

BLUE PAINT covers them all. Agents pour in, followed by 
Sharon. There, on the floor, holding as many weeping children 
as he can:

HUB

Who, unable to keep up the facade for a single second more, 
is also weeping now. Weeping for the victims of the bombings, 
weeping for the children who've survived, weeping for himself.

And for a moment, everyone just... stands there, vaguely 
embarrassed, and more than a little moved.

INT. HUB'S APARTMENT - THAT NIGHT

Hub sits in his boxers, toweling blue paint from his hair, 
listening to the CNN report of the school attack. A KNOCK at 
the door. He pulls on his pants. It's Sharon.

		ELISE
	This just came in.

She hands Hub another fax: "Last Warning. Release Him." He 
looks at it and hands it back to her without a word.

		ELISE
	You alright?

		HUB
	My neck's a little stiff, that's 
	all.

		ELISE
		(a long look)
	That's not what I meant.

		HUB
	I know.

They stand awkwardly in the doorway for a moment.

		HUB
	You want a drink?

		ELISE
	Sure.

He walks over and opens a bottle of scotch.

		ELISE
	That was a pretty crazy thing you 
	did today.

He doesn't respond. Hands her the drink.

		HUB
	Better days.

She takes a drink. Then another.

		ELISE
	I wanted to -- I... just didn't feel 
	like... being alone... tonight.

		HUB
	Where's Samir?

		ELISE
	I could call him. Maybe he'd join 
	us.

		HUB
	You'd like that.

		ELISE
	I might. Or I could call Tina.

		HUB
	555-6354.

They stare at each other.

		ELISE
	Look, I thought Samir'd be an easy 
	recruit. He wasn't. It was crazy but 
	I did what I had to do.
		(looks at him)
	You know as well as I do, running an 
	agent can be very... complicated.

		HUB
	How about running an FBI agent?

		ELISE
	You think I'm trying to run you?

		HUB
		(looks at her)
	...Why else are you here?

		ELISE
		(staring right back)
	...You know why I'm here.

It's a charged moment. They're two sad and lonely people.

		ELISE
	Tell me to leave.

		HUB
	Leave.

		ELISE
	No.

When they embrace, their ferocity and desperation is something 
more than comfort and less than love.

Sequence omitted from original script.

											CUT TO:

THE CHIEF OF STAFF'S OFFICE -- NIGHT

The Chief of Staff is working late in a cardigan sweater. 
Devereaux, in his impeccable suit, stands opposite him. Even 
at ease he is smartly erect.

		CHIEF OF STAFF
	The FBI received another fax.

		DEVEREAUX
	Ahmed Bin Talal. They're still under 
	the impression that we have him.

		CHIEF OF STAFF
	Do we? Have him?

		DEVEREAUX
	To refresh your memory, as I told 
	you last time, it was the Libyans 
	who --

		CHIEF OF STAFF
	I remember perfectly well what you 
	said last time.
		(looks at him)
	Do we?

Devereaux frosts him with a look.

		DEVEREAUX
	Let me give you some free advice, 
	son. Don't get between me and the 
	President. You might break a nail.

		CHIEF OF STAFF
	I am speaking for the President.

He and Devereaux look at each other. It is the moment of 
plausible deniability.

		DEVEREAUX
	As far as the President is 
	concerned... No, we do not.

The Chief of Staff accepts the answer because it serves him, 
for now. And because he has a more pressing agenda.

		CHIEF OF STAFF
	General, do you know that after 
	yesterday's attack, half the parents 
	in this country kept their children 
	out of school --?
		(Devereaux nods)
	...They're attacking our way of life. 
	It's got to stop. And the President 
	cannot afford to be weak.

		DEVEREAUX
		(reading the subtext)
	Are you saying the President is 
	prepared to take the necessary 
	steps...?

		CHIEF OF STAFF
	I'm saying, the President is prepared 
	to be... Presidential.

											CUT TO:

HUB'S APARTMENT - DAWN

A ringing phone. Hub wakes up in a tangle of sheets. He looks 
around and realizes he is alone. Did last night even happen?

		HUB
		(on the phone)
	Hubbard... What --? ...Slow down, 
	slow down --

He reaches for the remote control, turns on the TV.

											CUT TO:

A GRINDING OF TREADS ON ASPHALT -- DAWN

as THE FIRST APC enters Brooklyn. Followed by another. And 
another. And in a sound bite: General Devereaux, IN FATIGUES 
FOR THE FIRST TIME, and looking like grim death.

		DEVEREAUX
	Today, with the invocation of the 
	War Powers Act by the President, I 
	am declaring a state of martial law 
	in this city.

THE BATTLE OF BROOKLYN HAS BEGUN

Road blocks set up at select intersections. Random stop-and-
frisk. Patrols of young soldiers in the streets. GANG KIDS, 
same age, same color, eye them warily.

		DEVEREAUX
	To the best of our knowledge, we are 
	opposed by no more than twenty of 
	the enemy. He is hiding among a 
	population of roughly two million.

THE BROOKLYN BRIDGE

Is closed. SOLDIERS in full battle-dress stop cars, check 
trunks, handbags, briefcases, and id's. THE LINE OF HONKING, 
ANGRY MOTORISTS stretches as far as the eye can see.

		DEVEREAUX
	Intelligence tells us he is most 
	likely Arab-speaking, between the 
	age of fourteen and thirty. Narrowing 
	the target to fifteen thousand 
	suspects.

A SWARTHY TEENAGER is pulled from A CAR by a SERGEANT and 
led away to a CAMOUFLAGED TENT set up on the bridge.

		DEVEREAUX
	We can further reduce that number 
	down to those who have been in this 
	country less than six months. Now 
	you have twenty hiding among two 
	thousand.

A CAR TRUNK is inspected. Two women waved through.

		DEVEREAUX
	If you are one of these twenty young 
	men, you can hide among a population 
	of similar ethnic background. 
	Unfortunately for you, you can only 
	hide there. And that population, in 
	the classic immigration pattern, is 
	concentrated. Right here in Brooklyn.

Hub and Sharon stare at the Orwellian tableau.

		DEVEREAUX
	We intend to seal off this borough. 
	And then we intend to squeeze it. 
	This is the land of opportunity, 
	gentlemen. The opportunity to turn 
	yourselves in. After sundown tonight 
	any young man fitting the profile I 
	described who has not cooperated 
	will be arrested and detained.

Hub and Sharon show their ID's to an MP.

		MP
	Would you follow me, please. The 
	General is expecting you.

He leads him to A CAMOUFLAGED TENT on the service roadway.

		DEVEREAUX
	There is historically nothing more 
	corrosive to the morale of an army 
	than policing its own citizens.

IN THE TENT

The swarthy teenager is being interrogated by COL. HARDWICK.

		DEVEREAUX
	But the enemy would be sadly mistaken 
	if they were to doubt our resolve. 
	They are now face to face with the 
	most fearsome killing machine in the 
	history of man. And I intend to use 
	it. And be back on base in time for 
	the play-offs... That is all.

Devereaux sees Hub and strides over to him:

		DEVEREAUX
	Hub. Good to see you again.

		HUB
	I can't say the same, sir. Not in 
	that uniform. I thought you were 
	against this.

		DEVEREAUX
	I am against it. It wasn't my call.

		HUB
	"I'm only following orders" didn't 
	work at Nuremberg. It may not be 
	your policy but they're your tactics.

		DEVEREAUX
	Your operation had its chance, Hub, 
	and you couldn't get it done. You're 
	down three touchdowns. Time to bring 
	in the first string.

		HUB
	Against our own team?

Devereaux suddenly goes ice cold.

		DEVEREAUX
	Are you questioning my patriotism?

		HUB
	I'm questioning your judgement, yes, 
	sir.

		DEVEREAUX
	Hub, I want you to take a moment and 
	reflect on my life as a soldier. I 
	have a dozen tropical diseases I'll 
	never entirely get rid of. I set off 
	metal detectors with the shrapnel in 
	my ass. I have watched men die and I 
	have killed. Now I am serving my 
	President and quite possibly not the 
	best interests of my country, but my 
	profession doesn't afford me the 
	luxury of that distinction. I won't 
	question your patriotism but don't 
	you ever again question my command.

		HUB
	I'm not under your command, General.

		DEVEREAUX
	Take a good look around, my friend, 
	and tell me that's still true.
		(softening his tone)
	But we're not shutting you out. In 
	fact, I can't do it without you, 
	Hub. I need men like you. Men willing 
	to put it on the line like you did 
	in that schoolroom.
		(gestures to his 
		uniform)
	These stars mean I have been putting 
	it on the line for thirty years... 
	and never made a mistake worth 
	remembering. Don't tell me I made a 
	mistake about you.

ON THE BRIDGE -- MOMENTS LATER

Hub and Sharon exit the command tent.

		HUB
		(ironic)
	They're not shutting us out. They 
	need men like me.

		ELISE
	He'll fuck it up, the arrogant prick. 
	You ever met anybody so in love with 
	the sound of his own voice?

		HUB
	We're putting Samir in play.

		ELISE
	Now? With all this going on? He's 
	freaked.

		HUB
	Oh, right, he's high-strung. Only 
	you can manage him. You and the CIA 
	and the DIA and God-knows-who-else 
	you're really working for --!
		(seething)
	Get back in there, Sharon, Elise, 
	whatever the fuck your name is -- 
	They'll probably make you a Colonel... 
	if you're not one already.

She gestures at the military leviathan.

		ELISE
	All this... is no more in our interest 
	than it is in yours, Hub.

		HUB
	What, exactly, are your interests, 
	Sharon? You protect Samir, you protect 
	the agency. You're interested in 
	protecting everything but your 
	country.

		ELISE
	You have no idea what I do for my 
	country.

		HUB
	No, and I don't want to know. With 
	you or without you we're putting 
	Samir in play. Now.

She looks at him for a long moment. Considering:

		ELISE
	One more lamb to the slaughter.

											CUT TO:

A HALF-OPENED DOOR OF AN APARTMENT

Samir looks and sees Hub, standing beside Sharon.

		SAMIR
	Oh, my God. Oh, my God...

He tries to SLAM the door, but they force it open. He grabs

A FAT JOINT from an ashtray and hurries into the bathroom.

		HUB
		(to Sharon)
	Does he understand the difference 
	between the FBI and the DEA?

		ELISE
	Samir... It's fine, he's cool.

OUTSIDE, the sound of gunfire. Samir reappears, wild-eyed.

		SAMIR
	Listen to that --! Are you listening? 
	They're killing Arabs out there!

		HUB
	You can stop it all right now.

		SAMIR
	What are you talking about --? The 
	army is here. They're setting up 
	interrogation centers right now. 
	They're torturing people in cellars.

		HUB
	Let's just calm down for a second...

		SAMIR
	-- I've got to get out of here. You 
	have to help me --

He goes over and peers out the drawn curtains.

		HUB
		(gentling a horse)
	We'll take care of you... don't worry. 
	You just have to calm down --

		SAMIR
	Money... I must have more money...

		HUB
	-- You got a student visa for Ali 
	Waziri. Because... somebody asked 
	you to -- Didn't they --?

		SAMIR
	I... got it myself.

Sharon CRACKS him across the face.

		ELISE
	Liar --!

Now it's Samir's turn to taste the blood in his mouth.

		ELISE
	You... tell him... what he wants to 
	know.

		HUB
		(to Sharon)
	Hey, that's enough.

		ELISE
	He knows. He fucking knows.

		SAMIR
	She's crazy. They're ghosts. Jinn. 
	They'd never trust someone like me.

		ELISE
	Stop simpering.

		SAMIR
	Please...

		ELISE
	I've got a picture of the two of us, 
	do you remember that picture, Samir?
		(the mask coming off:)
	I'm going to post that picture in 
	every mosque in Brooklyn. And then 
	I'm gonna send copies to some friends 
	of mine on the West Bank. You've got 
	family there, don't you --?

Hub jumps up, takes Sharon by the arm.

		ELISE
	Let go of me --

He gives her the BUM'S RUSH out of the apartment, shuts the 
door, then turns back to Samir, who sits, ashen-faced.

		HUB
	Now... Nobody's going to burn you, 
	nobody's going to call anybody --
		(sits beside him)
	-- Who asked you to get that visa?

Samir is trembling. Tears roll down his cheeks.

		HUB
	Don't be afraid. I can protect you. 
	There's nothing to be afraid of.

		SAMIR
	I'm afraid of going to hell.

Hub just sits there. He knows he's got him. Finally:

		SAMIR
	His name is Tariq Husseini. He runs 
	an auto shop.
		(Hub waits for more --)
	...on Commerce Street in Red Hook.

		HUB
		(hands him a card)
	My beeper number. Anybody messes 
	with you, I'm there in twenty minutes.

He gets up and walks into:

THE HALLWAY

Where Sharon waits. As they head for the stairs we HEAR:

		ELISE (V.O.)
	You're good.

		HUB (V.O.)
	You're not so bad yourself.

But we are HEARING IT along with:

COL. HARDWICK

In a nearby SURVEILLANCE VEHICLE -- where, through the newest 
microwave technology (the kind the FBI don't yet have), he 
has OVERHEARD the entire conversation.

ON A NOTEPAD

In his lap, the name, "Tariq Husseini."

											CUT TO:

OUTSIDE SAMIR'S APARTMENT

They are in a housing project. Hub dials his cell phone.

		ELISE
	You calling Devereaux.

		HUB
	Didn't get his number. Darn.
		(on the phone)
	Floyd, Hub. We need to put something 
	together in a big-ass hurry... Where's 
	Frank --?... Give him a 911.

A YELLOW SCHOOL BUS pulls up beside them and armed soldiers 
hop out. Sharon watches them as Hub continues:

		HUB
		(on the phone)
	-- and find some kind of beat-up 
	car... Well, beat it up yourself if 
	you have to... 896 Commerce St... 
	it's a garage in Red Hook... but 
	remember --
		(looks at her)
	-- they're pros.

A PSY-OPS VAN passes by, broadcasting through a P.A.

		VAN LOUDSPEAKER
	-- all persons without proper 
	authorization must be off the street 
	until seven a.m. Failure to comply 
	will result in immediate arrest.

The announcement is then repeated in Arabic.

ROUNDING A CORNER

They come upon several more YELLOW SCHOOL BUSES. From within 
the various apartments the SHRILL PROTESTS of mothers and 
sisters as YOUNG MEN fitting the "terrorist profile" are 
hustled into the BUSES.

		HUB
	Jesus...

		ELISE
	Tariq will go to ground.

		HUB
	We can hit him in less than an hour.

		ELISE
		(turns to leave)
	Hit him hard.

		HUB
	Where are you going?

		ELISE
	I've got to stash Samir someplace 
	safe.
		(as she goes)
	Go with God.

Hub hurries on toward his car, passing TEENAGE GIRLS, 
defiantly wearing Keffiyahs, who mill about, taunting soldiers 
with obscenities in English and Arabic.

AN APC drives past, further inflaming their passions.

Suddenly, A volley ROCKS AND BOTTLES come hurtling out of 
nowhere, smashing harmlessly against the armor. The teenagers 
laugh.

And then, the sudden CONCUSSION of a small BLAST from UP THE 
STREET. The teenagers SCREAM and scatter. Hub SPRINTS toward 
A SMOKING CAR, pulling his weapon from his hip.

A SOLDIER IS ROLLING ON THE GROUND, SCREAMING beside a PARKED 
CAR. His leg is shredded. ARMORED JEEPS come squealing around 
a corner. M-16's are locked, loaded and leveled at Hub.

		HUB
	FBI --! FBI --!

For a moment, it's touch-and-go as the the terrified RECRUITS, 
just weeks out of basic training, decide whether to SHOOT. 
On the ground, the injured soldier keeps SCREAMING.

		HUB
	Now... I'm gonna... reach... into my 
	jacket... and show you... my shield.

		YOUNG SOLDIER
	Drop your weapon --!

Hub drops the gun and shows his credentials. The young soldier 
approaches warily as MEDICS attend to the wounded man.

		YOUNG SOLDIER
	Sorry, Sir. Somebody's booby-trapping 
	cars... We're all a little spooked.

The RATTLE of small-arms fire is HEARD from up the street. 
In the distance, a running FIGURE is chased by three SOLDIERS.

The transformation is complete: Brooklyn as Gaza.

REACHING HIS CAR

Hub climbs in. On a nearby pock-marked wall, a single word, 
"Intifada."

											CUT TO:

EXT. AN OLD WAREHOUSE -- LATER

Hub, who sits in a beat-up old car, a baseball cap worn 
backwards on his head. He keys his radio.

		HUB
	All Units, report in turn. If talking 
	will reveal your position, just key 
	your walkie...

AN OLD WAREHOUSE -- RED HOOK

Inside, an AUTO GARAGE. Hoists, compression cylinders, 
archwelders. Outside, two WINOS share a bottle by the curb. 
A BEAT-UP DODGE drives up. In it, two scruffy-looking Black 
MEN. Upon close inspection we realize that one is Hub. The 
other is Floyd.

		HUB
		(to a mechanic)
	Yo...

The mechanic looks out from under a car. He's Hispanic.

		MECHANIC
	Que Pasa?

		HUB
	Tariq around?

The mechanic gestures to a partitioned-office in the back. 
As Hub heads toward it, he checks out the other workers: a 
teenager doing a compression check, another fixes a tire.

IN THE OFFICE

Tariq is on the phone talking in Arabic as Hub enters.

		HUB
	Tariq?

Tariq holds up a finger, hold on. Hub sits opposite him.

		TARIQ
	How can I help you.

		HUB
	You're Tariq Husseini?

		TARIQ
	He's out.

		HUB
	Damn. Do you think you could give 
	him a message?

		TARIQ
	Of course.

		HUB
	Tell him the FBI is after him.

		TARIQ
	You're joking.

		HUB
	Very... slowly... put your hands on 
	top of the table.

Tariq notices that Hub's hands are out of sight beneath the 
table. Hub draws back the slide of his the weapon with an 
audible CLICK. Tariq mutters a CURSE in Arabic.

		HUB
	That wouldn't be a racist epithet, 
	now would it? Stand up.

As Tariq stands, Hub crosses behind him, kicks out his legs, 
pats him down, and cuffs him.

MEANWHILE -- IN THE WAREHOUSE

The two winos have revealed themselves as shotgun-wielding 
FBI agents and are now ROUSTING the garage workers.

		HUB
	Where are the others?

		TARIQ
	What others?

But before Hub can answer, an AMPLIFIED VOICE is heard.

		PSY-OPS (V.O.)
	Tariq Husseini, this is the United 
	States Army. You are surrounded.

Hub is as surprised as Tariq.

		PSY-OPS
	You have thirty seconds to throw out 
	any weapons and exit the premises 
	with your hands on top of your head.

One of the agents with the shotgun calls out.

		SHOTGUN AGENT
	-- Sir?

		HUB
	Do as he says.

As Hub hustles Tariq to his feet, the other agents start to 
hustle the workers out of door, when:

THE YOUNG MECHANIC

Reaches into his overalls.

		SHOTGUN AGENT
	FREEZE--!

But when the Mechanic pulls his hand out from his overalls, 
all he is holding is the pin to a GRENADE.

THE EXPLOSION

Kills both the FBI agents and their prisoners. Hub throws 
Tariq to the ground.

FROM AN UPPER WINDOW

An AUTOMATIC WEAPON opens fire on the Army presence.

HIGH ABOVE -- IN A CHOPPER

Devereaux responds with a dispassionate intensity.

		DEVEREAUX
	Code blue.

His order unleashes an overwhelming display of FIREPOWER.

INSIDE THE WAREHOUSE

Hub and Tariq crawl for cover as windows EXPLODE, walls are 
SHREDDED, and incendiary TRACER rounds mix with solvents and 
gasoline to start a conflagration. With the vaguely 
hallucinatory quality of the S.L.A. shootout, WHITE NOISE 
bleeds in and ALL SOUND FADES OUT:

AN M-60 TANK (SILENT)

Races in from around the corner, only to be hit by A ROCKET-
PROPELLED GRENADE fired through the second floor window.

INT. CHOPPER

		DEVEREAUX
	Code Red.

TWO APACHE ATTACK HELICOPTERS (SILENT)

Appear from their hiding place behind a nearby building. As 
they dive into their attack trajectory --

HUB (SILENT)

Crawls, dragging Tariq toward the doors as:

THE CHAIN GUN (SILENT)

Of the Attack helicopter fires 2,000 rounds a minute -- 
virtually UNZIPPING the warehouse -- softening it for THE 
TWO HYDRA ROCKETS that reduce it instantly to a huge FIREBALL.

IN THE CHOPPER -- DEVEREAUX

Watches the awesome display of firepower with calm detachment.

INSIDE THE WAREHOUSE -- TWO SHADOWY FIGURES

Stagger, blinded, out of the inferno. Hub drags a half-
conscious Tariq, where they are pounced on by commandos.

					DISSOLVE TO:

THE STADIUM -- NIGHT

Pac's and Tanks ring the stadium. An anti-terrorist perimeter 
has been established -- concrete obstacles, sandbags and 
razor-wire. Musco-lights cast their pitiless glow.

OUTSIDE THE PERIMETER

A mob of frightened parents, girlfriends, and furious fathers. 
A LAWYER for the ACLU confronts a young Lieutenant.

		ACLU LAWYER
	-- just want to know if my client's 
	name is on the list.

		YOUNG LIEUTENANT
	Sir, the list will be updated every 
	twelve hours and posted in the --

A gaggle of JOURNALISTS try to force their way in...

		JOURNALISTS
	-- This pass GUARANTEES... You CAN'T -- 
	...the first FUCKING AMENDMENT!

		LIEUTENANT #2
	There will be a pool briefing for 
	all accredited journalists at 0700 
	hours.

Hub shows his ID. Is allowed to enter into:

THE DARK STADIUM TUNNEL

A MUFFLED CRY that might or might not have come from someone 
in pain. His footsteps ECHO as he walks out to where:

2,000 DETAINEES

All young men between the ages of sixteen and thirty are 
milling about. Squatting, smoking, pacing, some laughing, 
most looking terrified. All spread across:

THE HALOGEN-LIT FOOTBALL FIELD

Armed GUARDS backlit in the upper tiers. Enlisted men passing 
out blankets and soup. Nearby, Hub sees Tina, standing quite 
still -- Finally, she is able to speak.

		TINA
	1942, my father was put into the 
	camps at Manzanar. Until the end of 
	the war. Two years. Now he roots for 
	the Dodgers and swears it could never 
	happen again.

MOMENTS LATER -- ON THE FIELD

Hub asks for Devereaux, is directed across the field, through 
an aisle in the wire cages. FRANK HADDAD looms out of the 
shadows. He looks terrible, drawn. Furious.

		FRANK
	They got Frankie. My kid's here 
	someplace --

		HUB
	Frank, slow down --

		FRANK
		(fighting back tears 
		of rage)
	He's only thirteen, for Chrissake --

Nearby, the "Allahuh Akbar," call, to evening PRAYER.

		HUB
	I'll get him out.

		FRANK
	They came into my house. My wife 
	told them who I was --
		(swallows hard)
	How many times did I put it on the 
	line, Hub --? How many times --

		HUB
	Frank --

		FRANK
	We're American citizens, twenty years. 
	Ten years in the bureau -- They 
	knocked her down... and took him. 
	Out of my own house.

		HUB
	It's wrong, Frank. What can I say to 
	you, but it's... all... terribly... 
	horribly... wrong.
		(takes his arm)
	Now, come with me.

		FRANK
	NO! I've got to find him. Besides, 
	this is where I belong.
		(takes out his wallet, 
		hands over his badge)
	Here. I'm not their sand nigger 
	anymore.

Hub watches as he he walks away. A MUEZZIN chants the call 
to evening prayer. Frank drops to his knees and joins the 
rest of the prisoners.

THE LOCKER ROOM

Has been transformed in a COMMAND POST.

		DEVEREAUX
	-- And his name is Haddad?

		HUB
	Frank... Haddad. Junior.

		COL. HARDWICK
	His father's a Shiite. We're checking 
	him out.

		HUB
	Check this out, pal. His father's a 
	federal agent for ten years.

		COL. HARDWICK
	Don't get in my face, Hubbard. I 
	might decide you're an Ethiopian.

		HUB
	And you're just stupid enough to 
	think that's an insult.

		DEVEREAUX
	If a mistake's been made we'll fix 
	it.

		HUB
	There is no "if". I'm vouching for 
	this kid. I want him out.

		DEVEREAUX
	And I said we will look into it.

		HUB
	You mean, like you're looking into 
	me? Surveilling me? Breaking up my 
	operations? If I'd known I was going 
	to have to do your job for you I 
	would never have left the army.

		DEVEREAUX
	There's an FBI office in Anchorage, 
	Agent Hubbard. Fuck with me and you'll 
	be learning a hundred and fifty new 
	words for snow.

The two men stare at each other.

		HUB
	Tariq Husseini is my prisoner. I 
	want to see him.

		DEVEREAUX
	The prisoner is being interrogated.

		HUB
	I want to see him.

Devereaux just looks at him as we CUT TO:

THE TILED SHOWER ROOM

Tariq is strapped, NAKED, into a folding metal chair. His 
head lolls on his chest, his eyes are dulled. On a nearby 
table, an empty syringe. Two MP'S stand guard.

Sharon is speaking softly to him in Arabic. Suddenly, Tarak 
SPITS in her face. She wipes it off as if it is nothing.

		DEVEREAUX
	How long have you been at it?

		ELISE
	Not long enough, apparently.

		DEVEREAUX
	How much longer, do you think, before 
	he gives up the other cells --

		HUB
	He can't give up the other cells if 
	he doesn't know about them.

		DEVEREAUX
	He knows.

		HUB
		(gestures to Sharon)
	What about her briefing? The strategy 
	session -- she said the cells don't 
	know about each other, that they --

Devereaux ignores him. Turns to Sharon.

		DEVEREAUX
	How long before he breaks?

		ELISE
	At this rate. Too long. The theatre 
	was hit nine hours after we took 
	down the first cell.

		DEVEREAUX
	So -- what other models do we have --
	?

No one wants to be the first to step into uncharted terrain.

		DEVEREAUX
	Shaking.

Nobody answers.

		DEVEREAUX
	What about it, Sharon?

		ELISE
	-- Won't work.

		DEVEREAUX
	Works for the Israelis.

		ELISE
	Only in conjunction with sleep 
	deprivation. Needs at least thirty-
	six hours.

Hub stares at Sharon -- as the dark side of her professional 
life is revealed.

		DEVEREAUX
	We don't have thirty-six hours.

Another silence. They're teetering on the edge of the abyss.

		DEVEREAUX
	Electric shock?

		ELISE
	The neurotransmitters just shut down.

		DEVEREAUX
	Water?

		COL. HARDWICK
	Palestinian authority is producing 
	good intel using water.

Hub finally can't take another second. Even in theory.

		HUB
	Are you people insane --?

		DEVEREAUX
	The time has come for one man to 
	suffer in order to save the lives of 
	hundreds

		HUB
	How about two men? How about three? 
	How about public executions, that 
	might work.

		DEVEREAUX
	You're welcome to wait outside.

		HUB
	General... you've lost men, I've 
	lost men... but what you're doing... 
	It doesn't work in Belfast. It doesn't 
	work in Gaza. And it won't work here.
		(it comes slowly at 
		first, then in a 
		rush:)
	-- What if... they don't want their 
	leader back at all? You said yourself, 
	we don't even have him. Maybe what 
	they really want -- is that we herd 
	our children into stadiums. Put 
	soldiers into our streets. Radicalize 
	people who want to think of themselves 
	as Americans. Bend the law, shred 
	the constitution.
		(searches for the 
		kind of words that 
		come so hard to him:)
	Because if we torture him -- and 
	let's call it what it is... You... 
	and I... then the country men like 
	us have sworn to defend. And bled to 
	defend. And died to defend... is 
	gone.
		(a deep breath)
	And they've won.

Gen. Devereaux stares hard at Hub. And then:

		DEVEREAUX
		(to Col. Hardwick)
	I think we have to soundproof the 
	room before we begin.

Hub looks at Sharon, who looks away.

		DEVEREAUX
	Escort him out.

The two MPs lead Hub out of the room.

		DEVEREAUX
	Let's get this over with.

Sequence omitted from original script.

					TIME CUT TO:

OUTSIDE THE LOCKER ROOM -- HOURS LATER

Sharon emerges from the shower room. She is shattered. The 
blood drained from her face. As if carrying with her all the 
sin that was committed in the next room.

FROM INSIDE THE SHOWER ROOM

The sound of a GUNSHOT. The door opens and Devereaux emerges, 
in the torment of a man of honor who is living a lie.

		ELISE
	He knew nothing.

Devereaux turns and walks off down the corridor.

Sequence omitted from original script.

											CUT TO:

THE LINCOLN MEMORIAL

Glorious, alabaster stone -- floodlit at night. A symbol of 
all that is good and free and just. Hub drives a rental car, 
staring out at the monuments.

IN GEORGETOWN

Hub pulls up to a lovely TOWNHOUSE. Parked on the street, an 
UNMARKED CAR from the Secret Service.

THE CHIEF OF STAFF

Opens the door, wearing a Dartmouth lacrosse team t-shirt.

		CHIEF OF STAFF
	C'mon in, we're still trying to get 
	the last one down.

In the background, we HEAR a three-year-old crying.

IN THE LIVING ROOM - LATER

Tasteful antiques, rag rugs and kids' toys.

		CHIEF OF STAFF
	...The President wants this shit 
	over with. There's only one way to 
	do that.
		(looks at Hub)
	Let the Sheik go.

		HUB
	So we do have the Sheik?

		CHIEF OF STAFF
	You think our government operates as 
	a single coherent entity? Devereaux 
	just... pushed the agenda.
		(carefully)
	Of course the President was completely 
	unaware of it.

		HUB
		(return of serve)
	Of course.

		CHIEF OF STAFF
	Now we can't just let him go. America 
	has to stand tall in the world yadda 
	yadda yadda. So what we do is...
		(the punch line)
	We let the American justice system 
	do its work.

His wife appears, holding a squalling baby, looking defeated.

		WIFE
	-- Honey...?

		CHIEF OF STAFF
	I'll be right up, darling.

She grits her teeth and goes upstairs.

		CHIEF OF STAFF
	You have kids? They're great. 
	Sometimes you just want to... drug 
	them.

		HUB
	What do you mean, let the justice 
	system do its work.

		CHIEF OF STAFF
	We don't release him. A judge releases 
	him. You're an FBI man. That's what 
	judges are good at, right?
		(off Hub's look)
	It's not like we've gone after him 
	in proper prosectorial fashion. 
	Kidnaping him. Holding him in 
	isolation. "Fruit of the poisoned 
	tree" -- remember that one from law 
	school? Oh, we'll have a big trial. 
	Everybody'll get their rocks off... 
	But the fact is --
		(the punch line)
	-- the sheik will walk.

He looks at Hub, shakes his head.

		CHIEF OF STAFF
	...And this whole episode becomes 
	nothing more than the news cycle 
	before the next news cycle.

He hands Hub an ACCORDION FILE.

		CHIEF OF STAFF
	Documentary evidence of Devereaux's 
	whole operation.

		HUB
	Why me?

		CHIEF OF STAFF
	Because you'll know what to do with 
	it.

Hub looks at the file in his hands. Considering.

		HUB
	And what about her?

		CHIEF OF STAFF
	Who?

		HUB
	You know who. How much is she 
	complicit in all this?

		CHIEF OF STAFF
	Ask her.

Hub looks up. Sharon emerges from the hallway.

Sequence omitted from original script.

ON THE STREETS OF GEORGETOWN -- LATER THAT NIGHT

Hub and Sharon sit in silence in Hub's rental car:

		ELISE
	I ran an Iraqi network for two years. 
	Samir recruited them from among the 
	Sheik's followers. I trained them in 
	the North. Then we played them back 
	into Baghdad, two, three at a time, 
	hiding them in the mosques...

Her voice softens just a bit as memory takes over.

		ELISE
	It was gonna be beautiful.
		(looks away)
	-- And then there was a policy shift --

She thought telling the story would be easy, but there's an 
enormous well of untapped feeling. She fights it back:

		ELISE
	-- The new doctrine was: Iran will 
	be too powerful if Iraq falls apart.
		(her voice trembles)
	And it's not like... we sold them 
	out. Exactly. We just... stopped... 
	helping them. And I wasn't allowed 
	to tell them what was coming down. I 
	was ordered not to tell them.
		(fighting back tears)
	-- And they got slaughtered.

She turns away.

		ELISE
	You've got to understand -- these 
	people... believe. Paradise. Bliss. 
	To us they're just words. But to 
	them... It's very beautiful, actually. 
	And when you look at their lives, 
	the heartbreak... And what do we do? 
	We think, aha, we can take advantage 
	of that.
		(losing it)
	So I quit. I came home. I just 
	can't... do it... anymore.

She doesn't want to reveal herself this way. Doesn't want to 
be vulnerable. Doesn't want to cling to him. For a moment He 
puts his arms around her, but it's like holding a beautiful, 
dangerous predator.

		HUB
	-- But first, you helped them.

She senses the hardness in his tone. Looks up at him, and 
through tears, puts her game face back on.

		ELISE
	What do you mean --?

		HUB
	They were being slaughtered. They 
	needed to get out. But they were on 
	the watch list. So you got them visas. 
	You and Samir.

		ELISE
	I promised we would take care of 
	them. They were working... for us.

		HUB
	Doing what, exactly?

		ELISE
	I don't know what you mean.

		HUB
	You said you trained them. Tradecraft. 
	Subversion. That's what you said, 
	right?
		(she nods)
	Only you left something out, didn't 
	you... Didn't you, Sharon?
		(she can't bring 
		herself to look at 
		him)
	You taught them how to make bombs.

The tears are streaming down her face now. Finally, she nods.

		HUB
	-- And now they're here, doing what 
	you taught 'em.

The streetlight catches Sharon's face. Her eyes are haunted.

		ELISE
	And I'm going to have to live with 
	the hell of that for the rest of my 
	life.

											CUT TO:

THE BROOKLYN BRIDGE -- (TO ESTABLISH) -- NEXT MORNING

		TALK RADIO (V.O.)
	-- the people of Brooklyn will not 
	be held hostage! This afternoon, 
	join community and religious leaders 
	in a march to protest the mass arrests --

Sequence omitted from original script.

											CUT TO:

Sequence omitted from original script.

BOROUGH HALL PARK -- LATER THAT DAY

		MARCH ORGANIZER
		(handing out leaflets)
	March on city hall. Today. No fear.

Hub and Frank are standing outside Hub's car, each on opposite 
sides, blocking any opportunity to suveil what is happening 
within.

Sharon sits inside with Samir. She uses a SCALPEL to make 
the slightest INCISION under Samir's arm. The RADIO plays.

		SAMIR
	Ahhhhhh...

		ELISE
	In case you decide to go on walkabout.

Into the incision she inserts a tiny plastic TRANSMITTER.

		ELISE
	How did you make contact?

		SAMIR
	He is Afghani. Ahhhh. He got word to 
	my uncle at the bath-house. You never 
	met him.

		ELISE
	But you're sure he'll show up.

		SAMIR
		(trembling)
	Sharon, they are all dead but the 
	last cell and they are crazy with 
	fear. Just tell me the message and I 
	will pass it on.

		ELISE
	I need to deliver it in person. 
	Believe me, they'll want to hear 
	what I have to say.

She turns off the radio.

OUTSIDE THE CAR

Hub and Frank glance inconspicuously around.

		HUB
	You watch the game?

On a piece of paper he has scribbled, "Hit Hardwick. Safe 
House. 11:00."

		FRANK
		(nods yes, then:)
	Kannell was really on.

Hub then writes. "Bath-house. 12:00."

		FRANK
		(nods again)
	Think they'll make the play-offs?

Hub looks at him. There's been little time for sentiment.

		HUB
	How's your boy?

		FRANK
	He's alright. Thanks for getting him 
	out.

Sharon steps out of the car. In her hands is a device 
resembling a PORTABLE OSCILLOSCOPE. A green dot appears.

		ELISE
	That's Samir.

		HUB
		(looks in at Samir)
	Green is about right.

He slips Sharon the scribbled notes. As she looks at them:

		ELISE
	He's terrified. Then again, so am I.

		HUB
	You sure he'll go through with it?

		ELISE
	If he doesn't he knows I'll give him 
	to Devereaux.
		(She mouths, "They 
		out there?" Hub nods)
	How's it feel to be on the other end 
	of it?

		HUB
	I like watching better.

		ELISE
	This is the endgame, you understand 
	that? If this goes wrong --

		HUB
	Nothing's going wrong.

		ELISE
	We're the CIA, something always goes 
	wrong.

The car door opens and Samir steps out, buttoning his shirt.

		ELISE
	I don't suppose there's any way you 
	would trust me to do this on my own?
		(off his look)
	I thought not. Well, in case it gets 
	hairy, remember... the most committed 
	wins.

Hub watches as she and Samir walk away.

		FRANK
	I trust her about as far as I can 
	throw her.

		HUB
	That far?

SHARON AND SAMIR -- CONTINUOUS

They hurry through the park. Samir is extremely agitated, 
eyes constantly darting from right to left.

		SAMIR
	This is not the way to the bath-house. 
	You said to get a key from my uncle 
	so that we --

		ELISE
	Shhhhhh... If you'd stop whining 
	you'd feel the surveillance.

IN THE SURVEILLANCE VAN

Colonel Hardwick, earphones on, overhearing them:

		ELISE (V.O.)
	Wait for the light to turn yellow 
	and then cross against the traffic.

On Col. Hardwick's computer, a GRID MAP of Brooklyn.

		COL. HARDWICK
	-- North on Ditmas Avenue.

		CORPORAL
	Sound garden's ready.

A TRIANGULATED FIELD OF MICROPHONES

On a nearby rooftop, an Army spotter uses a parabolic with a 
gunsight. Another mic is in a woman's shopping bag; another 
is in a twenty year-old's boom box.

		SAMIR (V.O.)
		(trembling)
	Sharon, please, I beg you. Do not 
	make me do this. If they even dream 
	we are being followed they will kill 
	us.

The light turns RED, they race across a crowded street.

THROUGH AN ARAB NEIGHBORHOOD

Where women in chadors carry mesh bags with tonight's meal.

INTO A CLEAN APARTMENT

Nothing but a single bed with a dirty white sheet. Sharon 
enters and turns on the TV... loud.

		ELISE
	Sit.
		(takes out a pocket-
		knife)
	Raise your arm.

		SAMIR
	What are you doing?

She cuts the stitches under his armpit and begins to dig out 
the transponder.

		ELISE
	They cannot even dream we are being 
	followed, isn't that what you said?

Sharon very deliberately wipes her BLOODY HANDS on the WHITE 
SHEETS.

On TV, we SEE the MARCHERS in front of Brooklyn Borough hall.

		SPEAKER
	"-- that we will not be made afraid 
	to walk free in this great city. I 
	say, march across the bridge and 
	into the stadium. Demand the release 
	of --

Samir is staring at the TV.

		SAMIR
	It is all so... tragic.

		ELISE
		(with rising dread)
	...They're going to hit the march.

		SAMIR
	Arab and Jew, side by side. Black 
	and White, Christian and Muslim --

IN THE SURVEILLANCE VAN

They appear as SPECTRAL images on Hardwick's microwave screen.

		SAMIR (V.O.)
	-- so American. Can you imagine a 
	better target?

		COL. HARDWICK
		(into his handset)
	Get me Devereaux.

											CUT TO:

BOROUGH HALL

THE CROWD is getting fired up as the SPEAKER exhorts them. 
SOLDIERS watch uneasily, not certain how to respond as the 
crowd begins to CHANT, "No Fear! No fear!"

Sequence omitted from original script.

THE APARTMENT

Sharon goes to a closet and takes out some old clothes. She 
TURNS OFF THE TV. Then:

		ELISE
	Here. Put this on. We don't want our 
	friends sweating too much while they 
	wait.

IN THE VAN

Hardwick speaks into a handset.

		COL. HARDWICK
	They're getting ready to move. Units 
	1 and 2, on my signal --

SUDDENLY -- THREE UNMARKED FBI CARS

Seem to materialize out of nowhere -- boxing them in.

IN THE VAN

		COL. HARDWICK
	What the --

ON THE STREET

Undercover FEDERAL AGENTS roust Army CID agents. An FBI agent 
with a deep drawl, spread-eagles one against a building:

		SOUTHERN FBI AGENT
	Hi, there, I'm new in town. Can you 
	direct me to Carnegie Hall, or should 
	I just go fuck myself --

The NYPD under the command of Danny Sussman -- roll up the 
rest of the sound garden -- examine the parabolic microphones.

AGENTS WIELDING SHOTGUNS

Blow off the rear door of the surveillance van. Frank enters 
and looks around at all the high-tech, microwave technology.

		FRANK
	Ah, microwave.

TWO WOMEN

In chadors, faces VEILED, descend a back staircase. Only as 
their faces emerge from the shadows and are caught by a dim 
bulb do we recognize Sharon and Samir.

Sharon unlocks a metal door to reveal THE HIDDEN COURTYARD 
of a neighboring building. She and Samir hurry through a 
back alley and out into an adjacent street.

BOROUGH HALL (WAS SHOT AS 194)

Where several APC's suddenly roar up and BLOCK off the square. 
Devereaux stands nearby, watching as:

		LIEUTENANT #2
		(though a bullhorn)
	This is an unlawful gathering. You 
	must disperse. I repeat --

Soldiers in full RIOT GEAR emerge to form a battle line: 
images of Selma, 1963; Chicago, 1968; Los Angeles, 1993.

		PROTEST SPEAKER
	Join together! Join hands!

THE MARCHERS LINK ARMS

Arab clerics and Hassidic rabbis, Black civic leaders and 
Hispanic gang members -- all continue to CHANT, "No fear!"

		THE YOUNG SOLDIERS
	Nervously look at one another as the 
	marchers begin to move.

		LIEUTENANT #2
		(through a bullhorn)
	These soldiers carry live ammunition. 
	This is your final warning.

"No Fear... No Fear..." Devereaux watches in dread as the 
marchers close the gap on the battle-line of anxious soldiers 
is this why he became a soldier?

A YOUNG GIRL unselfconsciously approaches a young soldier. 
Looks into his eyes. Smiles. And walks past. Another marcher 
walks right past a soldier, who does nothing to stop her. 
Soon, they are all surging past the riot-line.

DEVEREAUX watches, as something is revealed to him, something 
about America that, until this moment, he had forgotten.

IN THE SURVEILLANCE VAN

Frank is fiddling with the new technology like a kid at 
Christmas. But something is wrong. Where once there were TWO 
GHOSTLY IMAGES of Samir and Sharon in the apartment -- now 
there is NOTHING.

ON HUB'S OSCILLOSCOPE

The RADIO-SIGNAL of Samir's transmitter still registers as 
an unmoving, steadily blinking light. Hub is watching the 
building. Frank steps out the van, his face pale.

		FRANK
	We've got a problem.

HUB AND FRANK

Pound up the stairs of the building.

THE DOOR TO THE CLEAN APARTMENT

Bursts open. Hub comes in low and fast. Frank comes in hard 
on his heels.

In the center of the otherwise empty room, the white sheet, 
SMEARED IN BLOOD, is draped over a chair.

		FRANK
	What the --

Hub stares in dread fascination.

		HUB
	It's a shroud.

And he's out the door in a heartbeat.

Sequence omitted from original script.

BACK IN THE SURVEILLANCE VAN

Frank and Hub listen to a playback of Sharon's conversation 
with Samir on the digital recorders.

		ELISE
	"...sweating too much while they 
	wait."

Frank looks up at Hub.

		HUB
	First she turns off the tv, then she 
	says it.

		FRANK
	She knew we were listening.

It hits them both at the same time.

		HUB
	The hammam.

Sequence omitted from original script.

EXT. THE SURVEILLANCE VAN

Hub and Frank hit the street at a dead run.

BENEATH THE BROOKLYN BRIDGE

Samir opens a padlocked door with a key. He and Sharon 
disappear within.

A HAMMAM

An Arab bath-house. Rays of sunlight play off the steaming 
waters. Their footsteps ECHO off the tiled mosaic walls.

Sequence omitted from original script.

IN THE BATHOUSE

Samir kneels to touch the steaming water.

		ELISE
	How soon are they coming?

		SAMIR
	They'll be here.

He starts taking off his clothes.

		ELISE
	What are you doing --?

He finishes disrobing.

NAKED

He steps into the bath. With a sponge he washes his body.

		SAMIR
	What message do you have for them, 
	Sharon?

		ELISE
	I'll tell them when they're here.

The DISTANT SOUND of the approaching MARCH echoes off the 
tiled walls as Samir steps out of the purifying waters and 
takes a towel from a hamper.

		ELISE
	Nobody else is coming, is there?

		SAMIR
	That's right.

From the hamper he takes a Sig-Sauer .9 automatic.

		ELISE
	You're the last cell.

		SAMIR
	There will never be a last cell.
		(racks the slide of 
		the .9)
	You should listen to the young men 
	in that stadium. It is just beginning.

Sharon watches, in dread fascination, as he takes a white 
egyptian-cotton FUNERAL SHROUD and drops it over his head.

THE MARCHERS

Are streaming down the street.

Hub and Frank desperately fight their way through a wild, 
almost "carnival" feel.

BACK TO -- THE BATHS

Reflected in the purifying waters, Samir is putting civilian 
clothes on over the shroud -- still holding the .9 on Sharon.

		ELISE
	How could I have missed the play --

		SAMIR
		(a forgiving gesture)
	It was the money. You believe money 
	is power. Belief is power.

		ELISE
	-- Just tell me we didn't finance 
	your operation...

		SAMIR
		(a sad smile)
	The world is a wheel. So... what 
	message do you have for me, Sharon?

		ELISE
	They're going to release him.

		SAMIR
	Praise God. When will he be free --?

		ELISE
	A few months at most. First, they 
	have to bring him to trial, but --

He turns away from her, opening the hamper.

		SAMIR
		(not looking at her)
	-- No.

		ELISE
	-- But... that's what you want, isn't 
	it? Why you've done all this --

BELT OF SEMTEX EXPLOSIVES

Comes next. Velcro straps fasten the belt around his chest.

		SAMIR
	No. It's not.

He comes to stand beside her.

		SAMIR
	I want you to bleed... as we have 
	bled.

		ELISE
	Samir, the Koran preaches --

		SAMIR
	Do not speak to me of the Koran, 
	woman.
		(fighting his emotion)
	You take our leader. A holy man. You 
	put him in prison for preaching the 
	word of God. You must learn the 
	consequences of trying to tell the 
	world how to live.

		ELISE
		(with rising terror)
	But it's over, your point's been 
	made, why spill any more blood? Those 
	poor people out there in the street, 
	they're fucking marching for your 
	cause...

		SAMIR
	Yes.
		(fastens the last 
		strap on his semtex 
		harness)
	And they, too, will become its 
	martyrs.

A VOICE from the top of the stairs:

		HUB (V.O.)
	Let her go and you'll live.

Samir looks up, sees Hub aiming his .45. But Sharon is between 
them, blocking his shot.

From outside, we HEAR the sound of the marchers' CHANTING, 
"No Fear...! No Fear...!" Samir HEARS it, too.

		SAMIR
	Move away from the door.

		ELISE
	NO --!!!

		HUB
	Let her go and you'll live --

		ELISE
	DON'T --!!!!

		SAMIR
		(screaming, panicked)
	GET AWAY FROM THE DOOR --!!!

		HUB
	SAMIR --!

		SAMIR
	YOU WANT TO DIE --!!

They're all SCREAMING at once. Still Samir keeps inching 
toward the stairs. Hub blocks the way.

		HUB
	No way you're going out there.

Samir jams the gun into Sharon's ribs.

		SAMIR
	MOVE AWAY --!

Sharon's eyes meet Hubs'.

		ELISE
	Shoot.

		HUB
	Shut up.

		ELISE
	Shoot.

		HUB
	SHUT UP...

Samir is edging ever closer. Starting up the stairs. Sharon's 
eyes plead with Hub, begging for a kind of unholy redemption.

		ELISE
	SHOOT ME --!!!

		HUB
	I... CAN'T --!

		ELISE
	YOU HAVE TO.
		(weeping now)
	You... promised...

Hub's finger tightens on the trigger. But then slowly, almost 
imperceptibly at first, he lowers his gun.

		ELISE
		(sobbing)
	No --!!!

		SAMIR
	It is God's will.

His left hand moves imperceptibly toward the RIPCORD of the 
explosive device.

		HUB
	If there is a God, he weeps at the 
	crimes we commit in his name.

HIS FIRST SHOT

Rips through Sharon into Samir, blowing them both backwards.

HIS SECOND SHOT

Is to Samir's hand as it reaches for the ripcord.

THE THIRD SHOT

Is a killing headshot. Rolling him into the baths.

CLOUD OF BLOOD

Blooms in the cleansing water. The funeral shroud billows.

THE ECHO OF THE SHOTS

Still rings in the tiled room as Hub kneels beside Sharon.

		HUB
		(on radio)
	Officer down. OFFICER DOWN --!

		ELISE
	Is... he... dead?

		HUB
	...Shhhhhhh...

		ELISE
		(whispers)
	...no... regrets...

Hub cradles her head.

		HUB
	You... knew.

		ELISE
		(the saddest smile)
	I... wondered.

FRANK HADDAD

Appears at the top of the steps. Behind him, two PARAMEDICS 
race down to kneel beside Sharon. Hub is pushed aside as 
they begin triage -- but it doesn't look good as suddenly, 
she begins to convulse.

		HUB
	Sharon... SHARON --

		ELISE
	... Emma... My name... is Emma.

And then she begins to mumble, at first incoherently, and 
then more clearly. We realize she's speaking Arabic.

		HUB
	-- what are you? I don't...

And then Frank is standing above them. Tears in his eyes.

		FRANK
		(translating)
	"I... seek refuge... king of kings..."

And Hub suddenly understands: she is preparing for her own 
death. He holds her as she continues to pray in and out of 
her two native tongues. Until, at last:

		SHARON/EMMA
		(whispers)
	Allah Ahkbar. God is great --

		FRANK
	Allah Ahkbar --

		HUB
	Amen.

And she's gone.

OUTSIDE IN THE STREETS -- MOMENTS LATER

A block away, we can see the Marchers pass by. The chant of 
"No Fear..." fades into the distance. But Hub has already 
turned his back and is hurrying away.

											CUT TO:

EXT. COURTHOUSE SQUARE -- MOMENTS LATER

Hub hurries toward the Courthouse.

MOMENTS LATER - IN THE COURTHOUSE

JUDGE FRANKEL opens the door. He is taken aback by the blood 
on Hub's clothes.

		HUB
	I want to talk about a free society.

							BACK TO:

THE STADIUM COMMAND POST

Where Devereaux is watching coverage of the march.

		TV SOUND BITE (V.O.)
	-- "a very moving moment in which 
	the people of a city step forward to 
	declare their courage and solidarity --

He looks up to see Hub. He's carrying the ACCORDION FILE 
that the Chief of Staff gave him.

		DEVEREAUX
	Agent Hubbard, do you want to tell 
	me exactly what you mean detaining 
	Colonel Hardwick and six of my CID 
	staff. Because that strikes me as a 
	very peculiar idea of interagency 
	liaison.

		HUB
	The last cell has been taken down. 
	It was Samir. I took him out.

		DEVEREAUX
	What makes you so sure he was the 
	last cell?

		HUB
	Sharon.

		DEVEREAUX
	Sharon is not trustworthy.

		HUB
	Sharon is dead. She gave her life.
		(takes a piece of 
		paper from his pocket)
	This is a writ from the US District 
	Court releasing all those being held 
	here without habeus corpus.

		DEVEREAUX
	My authority supersedes the civilian 
	judiciary under the decree of martial 
	law.
		(a rueful smile)
	Sorry.

		HUB
	Your authority ends now. It's all 
	over.

		DEVEREAUX
	What's over.

		HUB
		(looks at him)
	They're going to release him.

		DEVEREAUX
	Release him?

		HUB
	The Sheik.
		(holds up the Chief 
		of Staff's' file)
	Clear violation of international 
	law, Congressional oversight statutes, 
	a couple of treaties, the Federal 
	perjury statute, and my favorite, 
	the Logan Act, for conducting your 
	own personal foreign policy.
		(simply)
	I know the whole story, General.

		DEVEREAUX
	You don't know shit. Poor suffering 
	Sharon and her poor suffering people. 
	It's called "going native" -- the 
	most elementary error of an 
	intelligence operative and she made 
	it. She had all of you working for 
	her and she was working for them 
	without even knowing it. And now 
	they're getting exactly what they 
	want, which is the Sheik will be 
	back in the mix. But ten times as 
	strong, because now he's the big man 
	who stood up to the Americans.
		(looks at Hub)
	I did what was necessary. I make no 
	apologies. If you think you're going 
	to be able to use that file against 
	me, you know even less about politics 
	than I imagined.

		HUB
	General. I'm not in politics. You 
	can have this back. I won't use it.

Hub hands him the file. Devereaux takes it.

		DEVEREAUX
	Because you don't have the balls.
		(off Hub's look)
	Did you expect me to get all weepy 
	with gratitude? You serve your 
	country.
		(dismissively)
	Is there anything else?

Hub would love to just... clock him. Instead:

		HUB
	I said I wasn't in politics. I'm 
	not. I'm in law enforcement.

He takes his gun from its shoulder holster.

		HUB
	William Devereaux, you are under 
	arrest for the torture and murder of 
	Tariq Husseini under color of 
	authority, United States Code Title 
	42, Chapter 21, Subchapter 1, Sections 
	1983.
		(takes out his gun)
	Surrender your weapon.

Behind them, a COMMOTION as Frank and several agents force 
their way into the room, followed by REPORTERS, who shout 
questions as STROBES and VIDEOTAPE record the arrest.

OUTSIDE THE STADIUM

An NYPD car -- Devereaux within, pulls away, lights flashing.

HUNDREDS OF YOUNG ARAB BOYS

Emerge from tunnel and into the waiting arms of their mothers, 
the tearful smiles of their wives and children. Hub and Frank 
stand there, watching the reunions.

		FRANK
		(after a moment)
	Did we win or did we lose --?

Hub has no answer. No one has the answer.

										FADE OUT:

				THE END
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