Mission: Impossible Page #7

Pan past the embankment and onto the bridge where PHELPS is

still racing to meet ETHAN. But he stops suddenly, as if

hearing something and looks behind him, at the deepening

gloom.

EXT. EMBASSY - NIGHT

ETHAN and SARAH hear PHELPíS voice over the monitor.

SARAH:

The package is in the open.

ETHAN:

Jim. Jim. Heís in the open.

PHELPS (O.S.)

Iíve got a shadow.

ETHAN:

Can you lose him?

PHELPS (O.S.)

No. Abort.

Over ETHANís shoulder, SARAH sees GOLITSYN getting away. Fog

starts to roll over the river towards the bridge.

SARAH:

Ethan. Heís out of pocket.

ETHAN:

(to Phelps)

Jim we canít.

PHELPS (O.S.)

Abort. Thatís an order.

ETHAN:

Negative, Golitsynís on the move.

INT. GETAWAY CAR - NIGHT

Seated in the getaway car, CLAIRE listens to JIM and ETHAN

argue.

PHELPS (O.S.)

No, damn it, no, I said ABORT!

EXT. EMBASSY - NIGHT

Outside the Embassy, SARAH and ETHAN argue.

ETHAN:

Sarah eye on the package. Jim, Iím

coming to you.

SARAH:

Jim gave an abort, we should walk

away.

ETHAN:

No, weíre going to recover the disk,

understand?! Now move!

ETHAN takes off for the bridge, leaving SARAH to shadow

GOLITSYN.

EXT. PARKING AREA - NIGHT

HANNAH hurries toward the getaway vehicle.

EXT. RESIDENTIAL STREET - NIGHT

ETHAN moves to the bridge stairs.

PHELPS (O.S.)

Where are you?

ETHAN:

About two hundred yards from the bridge.

PHELPS (O.S.)

Theyíre covering this frequency, Ethan.

Cut all radio communications. Repeat.

Cut all radio communications.

ETHAN continues to run toward the stairs to the bridge. Past

CLAIRE who sits in the getaway car. He looks on his monitor

and again sees PHELPSí POV. Only ominous silence. Phelps is

looking back over his shoulder. The bridge is deserted.

EXT. EMBANKMENT - NIGHT

SARAH follows GOLITSYN as he hurries toward the shore, where

a cobblestone promenade runs along the river. He disappears

into the fog at the edge of the river.

EXT. STAIRS TO BRIDGE - NIGHT

ETHAN checks his monitor again.

THE MONITOR:

PHELPSí point of view changes radically as his head swivels

on the darkened bridge. He whirls again, looking over his

shoulder and this time the barrel of a gun is visible,

pointing at him and before PHELPS has a chance to react a

GUNSHOT CRACKLES over the monitor.

The point of view goes crazy for a moment, then over and down

to a bloody hole in his own chest.

His head rocks again, then goes over the side of the bridge

and makes the long, hard fall into the river below.

EXT. STAIRS TO BRIDGE - NIGHT

ETHANís face goes white with shock.

ETHAN:

JIM!

EXT. CHARLES BRIDGE - NIGHT

He races up the rest of the stairs to the bridge but thereís

no sign of PHELPS.

ETHAN runs to the railing and looks down into the river but

sees only dark, choppy waters below, now becoming

obscured in the gathering fog.

He turns and looks to the embankment. He can faintly see

GOLITSYN, hurrying along the promenade. ETHAN gives chase.

EXT. PARKING AREA - NIGHT

ETHAN runs towards the getaway car, reaching a vantage point

on the top of the stairs, he can see CLAIREíS outline,

visible in the driverís seat. But as he descends the stairs

--

--the car explodes and bursts into flames.

The force of the blast knocks ETHAN back.

ETHAN:

CLAIRE!

He watches the burning car in stunned silence for a moment, a

stunned CROWD starts to gather.

Remembering SARAH, he rushes down the stairs towards the

embankment.

EXT. EMBANKMENT - NIGHT

SARAH comes out of the fog near the riverbank and sees

GOLITSYN again, slowing down. A MAN comes out of the fog an

seems to ask GOLITSYN for a light.

SARAH draws closer. Behind her, the DRUNKEN COUPLE seems to

be hanging with her for some reason.

EXT. STAIRS FROM BRIDGE - NIGHT

ETHAN continues towards the embankment.

EXT. EMBANKMENT - NIGHT

SARAH is almost to GOLITSYN. Suddenly, the MAN in front of

GOLITSYN pulls him towards him. Sensing something wrong,

SARAH quickens her pace. The MAN is now hunched over

GOLITSYN, facing away from SARAH, going through GOLITSYNís

pockets.

The figure finds what itís looking for -- the disk -- and

takes it. SARAH comes closer --

-- and the figure whirls. It brings a knife up sharply,

plunges it into her chest and slinks away out of sight.

ANGLE:

ETHAN races around the corner onto the embankment. He bursts

out of the fog, just in time to see SARAH fall to her knees,

over GOLITSYNís body. ETHAN sees the knife in her chest and

GASPS.

He pulls the knife out of SARAH, who is close to death. He

looks at it -- it is a black Teflon knife with a serrated

edge.

BEHIND ETHAN:

The DRUNKEN COUPLE seem drunk no more. In fact, theyíre

watching ETHAN. Through the fog and night, they see him

leaning over SARAH, holding the knife in his hands.

AT THE BODIES:

SARAH goes still. ETHAN lays her down, turns the other body

over and sees that it is GOLITSYN. He quickly begins

rummaging through his pockets.

ETHAN hear police sirens and sees...

ANGLE:

A Prague police boat, SIREN wailing, arrives at the dock in

front of the Embassy. The DRUNKEN MAN and WOMAN stop

suddenly.

As THREE POLICE leap off the boat and race toward the

explosion, ETHAN leaps over the gate and races up the alley

and out of sight.

EXT. STREET -- PHONE BOOTH - NIGHT

ETHAN unscrews the mouthpiece of a payphone receiver. Heís

holding a flat piece of metal with six prongs on it, a

modernist cockroach. He CLICKS the cockroach into the guts

of the phoneís wiring, piercing it with its little prongs.

He screws the mouthpiece back on, holds the phoneís tongue

down for a second, releases it and listens. He has a dial

tone. Now he punches in a fourteen digit number he knows by

heart.

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