True Lies Page #2

14 OMITTED*

15 INT. 2ND FLOOR HALLWAY - NIGHT*

TIGHT ON LIBRARY DOOR. It opens a crack and a dental mirror*

comes out, looking around like a U-boat periscope. Seeing the

coast is clear Harry slips out. But just as he is closing the

door, a GUARD rounds the corner ten feet away. Harry turns

smoothly. He smiles sheepishly and moves toward the guard.

HARRY:

(In Arabic/ subtitled)

Where's the john around here? I

have to take a major leak.

The guard points warily down the corridor. Harry nods and

heads that way, back toward the party.

16 INT. MAIN HALL/ STAIRCASE - NIGHT

Harry comes down the staircase amid the glitter of the party.

He is sipping champagne and looking bored. He sees two

security guys moving purposefully through the crowd toward the

stairs, walkies in their hands. He turns away as they pass him

and pretends to study a large fragment of bas-relief... a

temple frieze depicting a war chariot drawn by four horses.

He senses someone next to him and turns. It is the WOMAN. She *

is captivatingly beautiful, and her gaze is piercing.

HARRY:

(indicating the bas-

relief)

Magnificent, isn't it?

WOMAN:

Yes. Hi, I'm Juno Skinner. I

thought I knew most of Khaled's

friends but I don't believe I

know you.

Harry offers his hand to her.

HARRY:

Renquist. Harry Renquist.

17 INT. VAN - NIGHT

Gib whirls to the screen displaying the mission database. He

scans rapidly for--

GIB:

Skinner. Skinner. Come on...

Gib finds the entry he's looking for. Juno's picture and data

appear on the screen.

GIB:

Juno Skinner. Art and

antiquities dealer, specializing

in ancient Persia.

18 INT. MAIN HALL - NIGHT

Harry turns back to the fragment of frieze.

HARRY:

This is Persian, if I'm not

mistaken.

JUNO:

Very good. It's sixth century

B.C. Do you like the period?

HARRY:

(shameless)

I adore it.

19 EXT. DOCK/ BOATHOUSE (NIGHTVISION POV) - NIGHT

Seen through the starlight scope, we see one of the guards

shining his light on the hole in the ice and then on Harry's

footprints leading to the boathouse. He calls to one of the

other guards, who comes running over.

20 INT. MANSION - NIGHT

Harry, still with Juno, hears Gib in his ear:

GIB (VO)

Harry, we got a problem. Guards

are swarming all over the dock.

Harry glances up the stairs. Khaled's SECURITY CHIEF is

gesturing to several of his men, and speaking quickly into a

walky. Three SECURITY MEN come down the stairs, scanning the

crowd. Harry turns smoothly away from them and takes Juno's

arm.

HARRY:

Do you dance, Ms. Skinner?

He steers her toward the dance floor.

21 INT. VAN - NIGHT

Gib, listening, rolls his eyes. He looks through the night-

vision scope. Guards are running around outside the chateau.

Harry's stirred up the hornet's nest. Faisil is still jamming

at the keyboard.

FAISIL:

Okay, files are unlocked. I'm

in. I'm down, baby. I got my

hand up her dress and I'm going

for the gold. I'm--

GIB:

Just copy the goddamn files!

(into his headset)

Harry, don't be stopping to smell

the roses, now. You hear me,

Harry?

22 INT. MAIN HALL - NIGHT

Harry whirls Juno aggressively across the dancefloor. She

responds deftly. They are well matched. She parries each of

his smooth moves with a flourish. It is a contest of wills,

and a surprised appraisal for each that the other is worthy.

Juno is hot. He bends her back at the waist, then snaps her

up. She twirls into the crook of his arm. Their faces are

inches apart. Wow. The music ends and she gives him a wry

grin.

JUNO:

Well. And I thought this was

going to be just another bunch of

boring bankers and oil

billionaires.

GIB (OVER)

Harry, seconds count, buddy.

Ditch the b*tch, let's go.

HARRY:

Unfortunately, Juno, I have a

plane to catch.

She slips a card out of a pocket in her otherwise sheer dress.

She hands it to him, maintaining eye contact. Serious sparks.

JUNO:

Call me, if you'd like to see

some of my other pieces.

HARRY:

I'd like that.

23 INT. VAN - NIGHT

Gib can't believe this conversation.

GIB:

(to Faisil)

Son of a b*tch is with her two

minutes and she's ready to bear

his children

(to Harry)

What's your exit strategy Twinkle

Toes?

24 EXT. CHATEAU/ FRONT ENTRANCE - NIGHT

Harry nods to the security men at the door as he strides

confidently through. He goes down the steps to the broad

terrace above the motor court. Behind Harry, a GUARD lowers

his walky talky and starts after him.

GUARD:

May I see your invitation, sir?

Without turning, Harry slips a small flat box out of his breast

pocket. A REMOTE DETONATOR.

HARRY*

Here's my invitation.*

He pushes the button and--*

KABOOM! The second floor office windows blow out in a fiery

explosion. Using the diversion, Harry leaps off the terrace

before the guard can open fire.

25 INT. / EXT. VAN - NIGHT

Gib sees the rising fireball a half-mile away. He starts the

van.

GIB:

Aw, sh*t. Here we go--

26 EXT. CHATEAU AND GROUNDS - NIGHT

Harry sprints across the snow-covered lawn, through the trees.

Guards with automatic weapons run after him, firing. The snow

explodes around him with bullet hits.

TWO DOBERMANS pelt toward Harry, leaping at him in perfect

unison. He waits... and knocks their heads together in mid-

leap with a crack like a baseball bat. The dogs drop to the

snow, wobbling around like they're drunk.

As Harry sprints on, ANOTHER DOBERMAN lunges out of the bushes

ahead, leaping directly for his throat. Harry grabs the dog

and shot-puts him up into a tree without breaking stride. Dog

Fu. The dog yelps and scrambles to hold onto an icy branch,

looking down in amazement.

27 EXT. PERIMETER WALL/ MOUNTAIN SLOPE - NIGHT

Harry leaps down on the outside of the wall, hitting a snow

bank and sliding downhill. He sprints down the gentle slope

toward the highway.

Harry looks back as TWO GUARDS ON SKIS come out of a guard

station beside the main entrance.

TRACKING WITH THE SKI-GUARDS, searching through the trees with

lights. They have lost Harry. They stop. A snowbank behind

them EXPLODES as Harry leaps out. He disables them both with

vicious street-fighter moves. Harry looks upslope as--

A service gate opens in the perimeter wall and TEAMS OF

SECURITY MEN in white snow-suits pour out, some on skis, some

on SNOWMOBILES. A HELICOPTER rises over the wall in a blast of

swirling snow. Its xenon lights rake through the trees,

casting lurid wheeling shadows on the snow.

ON Harry, snapping closed the ski boots he has stolen from one

of the disabled guards. He pops the boots quickly into the

bindings and takes off downhill with one of the guard's FN FAL

rifles slung across his back.

The helicopter swoops downhill, its searchlight blazing through

the forest. Snowmobile headlights illuminate the ski-patrols

zig-zagging among the trees.

Harry slashes expertly downhill. He cuts a distinguished

figure in his black tux. Automatic weapons fire rips through

the trees from behind him. Harry is going flat-out. The xenon

light hits him. A 7.62 mm machine gun in the chopper rips the *

slope into white clouds around him. Harry slashes, turns,

weaving among the trees at breakneck speed. A snowmobile is

closing in, outflanking him. He turns toward it, suddenly.

Hits a mogul. Uses the air to slash his skis right across the

rider's face. The snowmobile crashes and tumbles into the

night.

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