True Lies Page #7

CHARLENE:

Harry's in a sales meeting, Mrs.

Tasker. Let me try him in there.

Hold please.

She punches a key, engaging a digital scrambler and connecting

to--

63 INT. SUITE AT THE MARQUIS - DUSK

A PHONE RINGS. Gib opens his briefcase and looks at the

console of the cellular scrambler-phone inside. The display

reads TEKTEL/CALLER ID POS -- TASKER, HELEN.*

GIB:

It's Helen.*

Harry picks up the phone. INTERCUT THE FOLLOWING WITH HELEN.

HARRY:

Hi honey. What's going on?*

HELEN:

Sorry to bother you in a meeting,

but you have to promise me that*

you'll be home at eight. I don't*

want Dana and I sitting here by

ourselves like we were last year.

You promise?

HARRY:

(laughing)

Baby, I said I'd be there.

Really. Trust me.

(the room phone RINGS)

Gotta go, honey. Bye bye.

RING. Harry raises an eyebrow as he answers.

HARRY:

Hello? Oh, Juno, hi.

(pause)

Well sure. I can be there in

twenty minutes.

Harry hangs up. Gib, checking his watch, has a look like he's

got a bad gas pain.

HARRY:

What? It's on the way. She says

she's got something for me.

GIB:

Yeah, right.

64 INT. JUNO'S WORKSHOP - NIGHT

A WORKMAN guides Harry through the maze of statuary. He points

toward the back of the warehouse and then leaves. Harry is

left alone in the vast space.

Only a few lights are on, rendering the place somewhat Gothic.

Harry strolls in the direction the workman pointed. Ahead of

him, is the huge facade of a royal tomb. There is a flickering

light inside. A shadow moves across the wall in the entryway.

HARRY:

Hello?

He enters the stone doorway of the tomb. FOLLOWING HARRY as he

steps into the inner chamber. There is an oil-lamp burning on

a stone sarcophagus, the only light. The room appears empty.

REVERSE ON HARRY. Behind him a figure emerges from a shadowed

alcove. It is Juno. She looks ethereal in the strange light.

JUNO:

Hello, Harry.

Harry whips around, startled.

JUNO:

Do you like my tomb? The museum*

financing fell out, so I thought*

your clients might be interested.

HARRY:

It's certainly... dramatic.

JUNO:

Especially in this light. This

is the only light they had then,*

so I like to study it this way.

I love this place. I love all

ruins.

HARRY:

Is that why you got into this

business?

Juno turns to him in the flickering half-light. She moves

closer. Her eyes seem to glitter.

JUNO:

I've always been a collector at

heart. When I see something I

want, I have to have it.

HARRY:

And you have a reputation as

someone who gets what she wants.

She is very close to him. Her eyes seem to glitter in the

light from the oil lamp. She is unbelievably beautiful.

JUNO:

Yes, I do.

65 INT. GIB'S CAR - NIGHT

Gib is sitting in the car, in the shadows, up the street...

with his earphone in place. Listening.

GIB:

Harry, this is your conscience

speaking...

66 INT. TOMB - NIGHT

Juno picks up the lamp and walks along the wall, holding it up

so that the flickering shadows seem to bring the bas-relief

figures to life. Stone faces shift and change, stone eyes

move.

JUNO:

Look at this. People who dies

twenty centuries ago.

Juno presses her cheek against the cold stone. She runs her

fingers slowly across the figures. It is strange and erotic.

JUNO:

They breathed and loved and wept,

just like us. And now their

ideals, their religions, their

social orders... are gone like

mist. What did any of it matter?

She crosses to Harry.

JUNO:

I only hope they lived well.

That they got what they wanted.

She puts her hands on him and pulls herself close. It is a

hypnotic moment.

JUNO:

Getting what you want is the only

important thing.

She kisses him, very lightly, with infinite sensuality.

67 INT. GIB'S CAR - NIGHT

GIB:

Harry? Listen to the following

code word. Helen. H-E-L-E-N.

Now, do you want me to I beep

you?

68 INT. TOMB - NIGHT

Harry breaks the kiss... slowly pulling back.

HARRY:

Yes.

JUNO:

Yes what?

HARRY:

Uh, yes, it is important.

Juno is moving in for a more passionate lip-lock when-- BEEP

BEEP BEEP!! Harry pulls his beeper off his hip and looks at

it. The moment is spoiled.

HARRY:

Uh, it looks like I have to run.

I'll call you tomorrow. Your

proposal is very interesting.

69 INT. GIB'S CAR - NIGHT

Gib lets out a big exhale of relief. He looks at his watch.

70 INT. TASKER HOUSE - NIGHT

Helen and Dana are sitting expectantly at the dining room

table. There is a big cake, and presents piled on the buffet.

The food is getting cold. Helen looks at her watch.

DANA:

See.

71 INT./EXT. GIB'S CAR - NIGHT

Harry is changing clothes, getting ready to be Harry Tasker*

again, as Gib drives through evening traffic. Gib keeps

checking the rearview.

GIB:

We have a friend. Five cars

back, inside lane. They've been*

on us since we left Juno's.*

Harry adjusts the passenger side mirror.

HARRY:

Station wagon?

GIB:

Uh huh. Want me to lose them?

HARRY*

No. We need this lead.*

(into his Rover)*

Unit Seven.*

UNIT SEVEN (FAISIL)*

Seven here.

HARRY:

(into Rover)*

I need you at the Georgetown mall*

in three minutes.*

SEVEN:

Copy that. We're rolling.

GIB:

Helen's going to be pissed.

HARRY:

See, that's the problem with

terrorists. They're really

inconsiderate when it comes to

people's schedules.

72 INT. STATION WAGON - NIGHT

There are three men in the car. YUSIF and MAHMOUD are in the

front, with Mahmoud driving. In the back, shadowed, we can

just make out ABU MALIK. Yusif is massively built, with a body

like a beer-keg. Mahmoud is skinny and intense.

73 OMITTED*

74 INT./EXT. GIB'S CAR - MALL - NIGHT

Harry puts his SUB-VOCAL TRANSCEIVER into his ear canal.

HARRY:

Test two three.

(Gib nods, receiving)

Pull over here.

Gib pulls the car to the curb near the mall entrance. Half a

block behind them the station wagon does the same. Harry slips

on the virtual-image sunglasses and gets out of the car.

75 EXT. MALL - NIGHT

Harry pauses on the sidewalk a moment to light a cigarette. He

coughs slightly.

GIB:

(in his ear)

You don't smoke, d*ckhead.

Harry lets his hand drop to his side, holding the pack of

cigarettes casually. He turns his hand. The tiny lens in the

cigarette pack glints.

POV VIDEO SCREEN --inside the left lens of the glasses. The

camera in the cigarette pack reveals Yusif and Mahmoud getting

out of their cars, crossing the street half a block away.

HARRY strolls into the mall. It is an open promenade design,

with a moderate crowd of shoppers and movie-goers. Harry

watches in the glasses as Mahmoud and Yusif slip through the

crowd behind him.

GIB (VO)

What's the plan?

HARRY:

(apparently mumbling to

himself)

Gonna try to get a closer shot of*

Beavis & Butthead.*

76 INT. / EXT. GIB'S CAR - NIGHT

Gib looks in the rearview, studying the car behind him.

GIB:

There's another guy, still in the

car.

HARRY:

(on radio)

Stay on him.

All Gib can see is a silhouette in the car. A soft cherry

glow, the tip of a cigarette in the dark. No features.

77 EXT. MALL - NIGHT

Harry turns off the main concourse, into a narrower walkway

between shops. In the video-glasses he watches Yusif and

Mahmoud, who have split up to look less conspicuous, as they

track him through the pedestrian traffic.

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