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by David Nelson (d.nelson.10@hotmail.com)

Rated: PG-13

Genre: Action/Adventure User Review: NOT YET
RATED
The twelve year old son of a famous movie director risks his life to save his father’s action film when his star performer shows up pregnant.

FADE IN:

INT. LEFORCE MANSION - DAY

ANTON LEFORCE, mid 40's, tall, blond, handsome, tip toes
into his son, Kyle's room. The room is cluttered with his
toys. The walls covered with his drawings.

KYLE LEFORCE, 7 years old, dark hair, light olive skin,
sleeps under a bed spread covered in action figures and
movie magazines. Anton smiles at his son, then gently nudges
him awake.

ANTON
Kyle, Kyle, you ready? Time to get
up close and personal with your
dream job. Come on.

Kyle opens his blue EYES, grins at his Dad and throws the
covers back. Action figures fly all over the floor. Leaping
up, Kyle springs out of bed, fully dressed. Anton laughs and
tosses Kyle over his shoulder as they leave the room.

EXT. LEFORCE MANSION - DAY

SEAN LEFORCE, 22, lean, strong, blond, stands waiting next
to a blue shiny 1973 Mach 1. An equally stunning brand new
Mercedes 550SL convertible sits next to the muscle car.

The mansion front doors swing open and Klye runs out and
leaps into his big brothers arms. Sean throws the youngster
high in the air as Anton heads over to the waiting Mercedes.

ANTON
Kyle, don't make Sean late for his
big day.

KYLE
Can't I ride in with Sean, Dad?
Please!

ANTON
Sean?

SEAN
It's cool, Dad. Besides, I'm
pretty sure I'll be at work before
the big boss.

ANTON
(grins)
Think so, huh? Well, we'll see
about that.

Anton jumps into the convertible and fires up the engine.

ANTON
See you later, boys!

Anton burns rubber as he starts towards the driveway exit.

SEAN
Come on, Kyle, get in!

Kyle runs and leaps through the open passenger window while
Sean hustles over and jumps behind the wheel. Sean cranks
over the muscle car's throaty engine and races down the
driveway after his father.

KYLE (os)
Go, go, go!

EXT. STREET - DAY

Sean and Anton race down the street bordering the studio
property, both jockeying to reach the gated entrance first.

With a final burst, Sean pulls ahead and arrives at the
unmanned guard booth first. Looking in his rear view mirror,
Sean smiles at his frustrated, yet proud, father pulling up
behind him.

Sean holds a card up to a reader allowing the gate to raise.
He pulls onto the lot with Anton following.

EXT. STUDIO LOT - DAY

Sean idles as Anton passes him in the Mercedes and pulls
into a reserved parking space. A Bentley takes up the spot
in front of a reserved SIGN reading "Hauer
Steinburg-Producer" next to Anton's Mercedes.

As Anton gets out of his car, several aides and assistants
crowd him. Kyle climbs out of Sean's car and takes in the
commotion around his father. Sean gives both Kyle and Anton
a nod, then speeds away.

EXT. STUDIO LOT-LATER - DAY

Technicians, actors, extras and vehicles of all sorts move
about the street scene resembling a New York brownstone
neighborhood and small business district.

HAUER STEINBURG, early 50's, short, gray hair, paces
nervously while puffing a large cigar. TRIG MAJORS, late
40's, graying brown hair, craggy, wearing a battered leather
coat with a fading "Hollywood Stuntmen's Association" emblem
across the back, hustles over to Hauer.

HAUER
(irritated)
Well?

TRIG
Damn it, Hauer, I told you before,
we don't have the equipment. It's
too much.

HAUER
Bull! Trig, if you can't get it
done, I guess I'll have to find
someone who can.

TRIG
I've pulled in every air bag in
town for this gag. You're either
gonna have to cut a couple falls
or use CGI, cause, I'm telling
you, someone will get hurt.

HAUER
And I'M telling YOU, use the pads.
I have seen guys from twice that
height use pads without a scratch.

Trig hesitates. Across the lot, Anton climbs into his boom
camera chair. Kyle stands next to him as Anton's assistant
director, ALLY WATERS, mid 20's, blond, serious, shouts into
a bullhorn.

ALLY
On your marks, everyone. Please,
everyone in position, this is a
take!

HAUER
So, what's it going to be, Mr.
Stunt Coordinator. Do we get this,
in one take, or do I find myself a
new second unit director?

Trig frowns, stares at Hauer, then jogs off towards one of
the brownstones.

HAUER
(to himself)
Good boy.

BOOM CHAIR

As Anton settles in, MANISHA BASU, Indian, late 20's, black
ponytail, striking in her leather outfit and black
sunglasses, quickly strolls over and takes up post next to
Anton. Anton smiles at his star.

ANTON
Good morning, Manisha.

Manisha speaks in a soft, singsong voice, heavy with an
Indian accent.

MANISHA
A good morning to you, Mr.
Director.

ANTON
So, are you ready for this? Have
you gone over everything with
Trig?

Manisha rolls her eyes.

MANISHA
Yes, Mr. Director. I am ready, and
your Mr. Majors has more than
prepared me, thank you.

ANTON
(grinning)
Wonderful. Ally, are we set?

            ALLY
      (into her headset)
Camera's 1 through 4, roll,
please. Cameras 5 through 12,
ready on my mark.
      (back to Anton)
We're ready, Boss, on your word.

Anton signals for the boom to elevate. On a large piece of
TAPE stuck on the boom arm is written "Justice of Revenge."
Kyle stays close to Ally. Manisha takes in the entire set,
concentrating on each building across the street.

            ANTON
      (To Ally)
Roll five through 12, now.
      (in a bullhorn)
Background, go!

On cue the scene comes alive. Cars and trucks drive up and
down the street, pedestrians fill the sidewalks, going in
and out of the storefronts.

ANTON
Here we go, Manisha. ACTION!

Manisha, holding a silver metal briefcase, starts walking
with purpose across the street towards a bank building.
Reaching the doors, she goes inside.

After a beat, the BANK explodes in a huge fireball. Debris
scatters in all directions. Cars screech and crash into each
other. Pedestrians scream and run for cover. It's complete
chaos.

As the fire ball clears, Manisha strides through the smoke,
carrying the silver case. Amongst the commotion, she is
remarkably calm, checking her watch and looking down the
street. Finding the scene to her liking, she grins and sets
off down towards the far end of the block.

Suddenly, several police cars turn onto the street ahead of
her. She stops, frowns, and looks back the other way. More
police have blocked the way behind her.

Scanning the area, Manisha spots a fire escape attached to
the side of a brownstone. Now hurrying, she hustles towards
the building. The cops, now blocking both ends of the
street, have exited their cars and start running, guns
drawn, toward her.

COP
STOP! POLICE!

Just as Manisha leaps up towards the bottom rung, a young
policeman grabs her foot and pulls her down. Several more
officers arrive and surround her. Setting the metal case
down next to the building, Manisha turns away from the cops
and places her hands behind her back, feigning surrender.

The young cop approaches her and cuffs one of her wrist.
Just as he moves to cuff the other, Manisha drops to her
knees, pivots on her hand and takes out the legs of the
arresting officer.

The rest of the group attacks, with dismal results. One by

one, Manisha efficiently and effectively cripples the
remaining force.

After relieving one of the fallen victims of his P-4 assault
rifle, Manisha quickly scales the fire excape ladder with
her case in hand. Several connected buildings down, more
armed COPS appear on the roof of another brownstone, fanning
out while they train their guns on Manisha.

STUNT COORDINATOR'S STATION

Trig monitors the action on a dozen MONITORS while stealing
glances at the men on top of the brownstones. He calls out
orders into a microphone headset.

TRIG
Not too fast. Let Manisha get in
position. Find your marks along
the ledge.

Trig focuses on one monitor showing the cop stuntmen spacing
out along the brownstone's ledge.

MANISHA'S BROWNSTONE

Manisha reaches the roof just as a SWAT team unleashes a
hail of bullets from the ground. Windows shatter and bricks
explode all around her.

She returns fire, taking down a couple SWAT guys before
racing across the roof top and leaping down to the lower
roof on the next building. While in mid air, several of the
COPS on the brownstone ledge ahead of her let go on full
automatic. Right before she lands, she picks off four more
MEN.

COP'S BROWNSTONE

On cue, bricks explode all along the ledge as Manisha
shoots. The two stuntmen nearest her fall off the building
into hidden AIRBAGS below. The third stuntman takes several
rounds and slumps over right in front of Sean.

Sean stands and gets off a couple shots before taking a
bullet in the CHEST. He looks down, mouth agape, and, in
slow motion, falls forward off the building towards a large
foam mat.

STUNT COORDINATOR'S STATION

With guns roaring in the back ground, Trig watches Sean
start to fall off the ledge, then looks down to his MONITOR.
After a beat, Trig's eyes go wide with shock. He runs out

from his hidden station behind a post office store front and
sprints towards the brownstone.

TRIG
(frantic)
CUT! CUT! CUT! MAN DOWN, MAN DOWN!

EXT. LEFORCE MANSION - DAY

SUPER OVER BLACK "FIVE YEARS LATER"

Morning dew covers the acres of deep green lawns fronting a
two story colonial mansion. Pillars and stone lions ready to
pounce grace the formal entrance.

A sturdy iron gate guarding the house from the outside world
slowly glides open allowing a landscaping company van to
slip in. Taking a turnoff away from the portico main
entrance, the van stop behind a tall hedge and disgorges
several Mexican workers, all carrying equipment to start the
assault on the seemingly perfect yard.

As the men cover the grounds, snipping, clipping and edging,
one of the workers starts blowing invisible leaves with a
battery powered blower. The noise barely discernible over
the early morning bird chirps.

INT. LEFORCE MANSION - DAY

KYLE'S ROOM

Framed full size movie posters cover the walls of Kyles
room; Justice of Revenge, The Italian Job, Live Free or Die
Harder, Fast and Furious, Indiana Jones, Safety Last with
Harold Lloyd amongst others. A shelf covered with various
swimming and gymnastics trophies covers one wall.

A computer screen saver cycles through scenes from different
ballets. On the crowded desk, a small framed PICTURE of a
three year old child punching a handsome young man anchors a
corner.

From outside the WINDOW, the electric blower SOUND fills the
room. The bed covers, covered with sports bags,
entertainment gossip magazines and various action movie DVD
boxes, shifts slightly.

Underneath the covers, KYLE LEFORCE, now 12, fine black
hair, narrow face, watches FALL GUY on a small portable DVD
player. Kyle, finger on the replay button, watches a high
fall scene over and over. After several plays, he fast

forwards to another scene where Colt Seaver's truck leaps
across a canyon.

MASTER BEDROOM

Outside the window, one of the yard crew starts a power
mower. TASHA LEFORCE, early forties,, Italian, long black
hair, buries her head under a pillow against the NOISE.

When another mower adds to the racket, Tasha surrenders,
tosses the pillow across the room, gets up, throws on a robe
and heads out into the hall.

KYLE'S ROOM

Kyle is now studying Dar Robinson's moves in the movie,
"Sharkey's Machine" when he hears his mother's yell.

TASHA (os)
Time to get a move on, young man!

Kyle quickly shuts off the player, sticks his head out from
under the covers and feigns sleep. Tasha arrives a second
later.

TASHA
So you're suppose to be asleep,
huh?

Nothing from comatose Kyle. Tasha moves over next the bed.
After surveying the disaster of a room, she takes hold of
the covers and peals them back from under Kyle's chin,
revealing the DVD player.

Still no sound from Kyle, although a tiny grin starts to
curl on the side of his mouth. Tasha frowns and touches the
DVD player.

TASHA
You know, Kyle, if you're going to
try and pretend you're asleep, you
might try hiding the DVD player
before I get here.

Tasha turns around and leaves the room.

TASHA (os)
I'm gonna take a shower, then get
you off to school. Don't make me
wait again.

Kyle opens his eyes, throws the covers all the way off, and
leaps out of bed fully clothed. After a quick survey of his

9.
room, he grabs several items from different piles and stuffs them into his Stuntmen's Association BACKPACK. Hustling toward the door, he jumps on a SKATEBOARD and pushes off out of the room and down the wide open hall.

GREAT HALL

Kyle picks up speed on the board as he passes his parents bedroom, his mother SINGING from the shower. When he reaches the grand stairway leading to the main floor, he leaps up, holding the board, and slides down the banister, still on the board. Just before hitting the post at the base of the stairs, he reaches down, plants one hand on the banister and flips off the railing. With the other hand, he pulls the board off the rail and stuffs it into his back pack. As he crosses a large open living room, he completes a tumbling run with several flips, sticking his landing in a large office. Tasha, wrapped in a towel, peeks out her bedroom door, just missing the action.

OFFICE

Rows of framed photographs cover the entire wall behind a large desk. Every picture features Anton LeForce smiling with a popular entertainment figure. SERIES OF SHOTS -Anton in tennis togs with Tom Hanks -Younger Anton drinking with Burt Reynolds -Anton with Lucy Lawless -Anton shaking hands with Toby McGuire -Anton skiing with Steven Speilburg -Anton dancing with Julia Roberts

The desk itself is bare except for an open laptop and a framed black and white picture of a smiling Anton with his arm around the same young man from the picture in Kyle's room. On the opposite wall from the desk are two flat panel televisions flanked by shelves holding several Oscar Award TROPHIES. Between the TV's is a framed movie poster for "Justice of Revenge." The poster highlights the 11 Oscar Nominations and 4 Wins, including Best Picture and Best Director.

10.

Kyle strolls in and flops down on a dark leather couch.
Grabbing the remote control, he turns on both TV's and
raises the volume on the left set as E News starts.

E NEWS ANNOUNCER
Welcome back to E news. After
several years of what some in the
business say was a forced hiatus
from making movies, Anton LeForce
is set to return to the big screen
with the thrill packed,
"International Justice."

Video rolls of Anton directing from a camera boom chair.

E NEWS ANNOUNCER
This is LeForce's first action
movie since his Oscar winning
effort,"Justice of Revenge." As
you may recall, LeForce's success
with Justice was overshadowed by
the terrible injuries suffered by
his son, Sean, during shooting of
the films final scene.

New video rolls showing Anton and Hauer Steinburg with
several Indian actors.

E NEWS ANNOUNCER
As with "Justice of Revenge",
LeForce has again teamed up with
his former partner and legendary
producer, Hauer Steinburg, to
bridge the Pacific with this
Hollywood Bollywood action
spectacular. Rumor has it that
this reteaming was forced on both
men after their very public
falling out over what LeForce
claimed was an unsafe working
environment promoted by Steinburg.

The video changes again to an Bollywood action sequence with
several Indian bad guys being dismantled by a short Indian
woman dressed in black.

E NEWS ANNOUNCER
LeForce is also bringing back
international Bollywood action
superstar, Manisha Basu, who
reprises her role as globe
trotting assassin for hire, Shanti
Ra. In the first film, LeForce
introduced Basu to the American
(MORE)

11.

E NEWS ANNOUNCER (cont'd)
movie audience and her career has
skyrocketed since. Some say Basu
agreed to work with LeForce as a
payback for her success. Can
lightning strike twice for
Steinburg, Basu and LeForce? Only
the future will tell.In other
news...

Kyle clicks off the TV and gets up to leave. Just before
shutting down the other set, a local news reporter standing
in front of a construction site begins her report. Kyle
stops and turns the volume up on the second set.

LOCAL REPORTER
This is Kelly Richards in Beverly
Hills. Behind me is the last
portion of vacant land left from
legendary actor Harold Lloyd's
great estate. Over the years, the
once great estate has been sold
off, piece by piece, to
developers...

Kyle looks out the office window, a puzzled expression on
his face, then back to the report.

LOCAL REPORTER
...a call to building department
officials has gone unanswered
about the plans for the property.
With this lot now sold, only the
great mansion itself will remain
from what has been called the
golden age of Hollywood. Live from
Beverly Hills, this is Kelly
Richards.

TASHA (os)
You better be ready to go. And you
better not be eating candy again
for breakfast!

Kyle, busted, shuts off the other TV, stuffs the rest of a
Snickers bar in his mouth, grabs his backpack and hustles
out of the office.

INT. TASHA'S LAND ROVER - DAY

Tasha drives past mansion after mansion through Beverly
Hills. Ferrari's, Mercedes, Harley's and all sorts of other

12.

expensive vehicles join the commuter down the hill. Kyle
sits watching from the back seat. Almost every yard has
Mexican workers trimming, washing cars, delivering
furniture.

TASHA
Now don't forget, I'll be waiting
for you right after school. I need
you in your tunic and tights WHEN
I ARRIVE! Got it?

KYLE
I hate changing at school, Mom.
You know everyone makes fun of me.

TASHA
They do not. Now I've got to drop
you off then meet your father for
his dinner with the studio people.
You know how important this movie
is to him.

KYLE
Can't I just skip practice this
once. I've danced the stupid Swan
Lake the last three years. You'd
think they could come up with
something new for once.

TASHA
Now how would that look with me
being on the ballet board? At
least you're getting the summer
off this year. I promise next year
we will change the program.

Tasha pulls up to a busy drop off zone. The stately brick
school building swallows up dozens of teenage boys, all in
matching tan pants, white shirts and striped ties. Several
carry football shoulder pads and jerseys. Kyle spots the
equipment.

KYLE
Oh, crap, the spring football
playoffs start today!

TASHA
Watch your language, young man.

KYLE
But Mom, you said when I got into
eighth grade, you would think
about letting me try out, that's
next fall! Come on, Mom, Sean
(MORE)

13.

KYLE (cont'd)
played. Heck, he got to do all the
cool sports, football, lacrosse,
even soccer. I don't know why I
got stuck with all the dumb stuff.

TASHA
Don't you know football leads to
all kinds of brain injuries,
Alzheimer's, cognitive reasoning
deficiencies, delayed learning and
all sort of other problems.

KYLE
Come on, Mom!

TASHA
We'll talk about it later,
alright. Now, get going, I'll see
you after school.

Kyle rolls his eyes, mutters under his breath, then gets out
and joins the last of the boys entering the Beverly Hills
Boys Academy.

INT. SCHOOL - DAY

Packs of boys fill the main hallway. Kyle closes his locker
and turns to face NICK COHEN. Cohen, 13, thin with dark
hair, slams the locker next to Kyle.

NICK
Why do we have to always play
dodgeball during last period, why?

Kyle grins at his friends tirade.

NICK
I mean, really, it's not even a
real sport. What actual athletic
skills does it teach you?

KYLE
Well?

NICK
This is the last time, Kyle, I
mean it. I'm gonna get a note from
my psychiatrist excusing me from
this forced torture.

Kyle and Nick simultaneously sling on their backpacks.

14.

KYLE
Come on, Superman. I'll watch out
for you.

As Nick and Kyle wade through the crowd down the hall, Kyle
cast a look over to a group of boys surrounding MATT
STEINBURG.

Matt, 12, tall with long dark hair, cuts his storytelling to
his posse short and smirks at Kyle. Kyle gives him a cold
look back. Nick takes hold of Kyle's elbow and pushes him
along.

NICK
(under his breath)
Ignore him, Kyle, come on.

INT. GYM - DAY

Several boys rush out from the boys locker room into a large
gym. All sport matching white tee shirts and red shorts.
Kyle and Nick are the last one out.

Kyle looks good in his uniform. Nick looks like an ostrich.
The teacher pushes a rolling trash can out from his office
next to the locker room door. The boys gather around him.

MR. CROSS
OK, OK, gather around, boys. Good.
Now, as you've all worked so hard
this week, I'm gonna let you blow
off some steam with a little dodge
ball. So, split up and get ready!

The boys separate into equal teams on both sides of the gym.
The teacher rolls the can over to the center line. Kyle and
Nick hang back on one side of the line while Matt and his
friends crowd up front near the ball can.

Before the balls are dumped, Matt looks over at Nick and
points directly at him. Nick moves back behind Kyle.

MR. CROSS
Ready? GO!

Cross tips the can over and throws the balls all over the
court. Game on! Matt and friends grab several balls and
start pummeling Kyle's team. With Nick hanging back, Kyle
grabs a couple balls and takes out two opposites.

After several skirmishes, Kyle and Nick remain on one team
and Matt and three other boys crowd the center line for the

15.

opposition.

Nick has managed to keep four balls behind him on the back
wall and holds another in his hands. He hugs the wall and
knocks away a couple long lobs thrown his way. Kyle, with
his eye on the others, backs up towards Nick.

NICK
Kyle, you have to get me out of
this crazy game. Those guys are
going to kill me!

            KYLE
      (still facing the
       opposition)
Roll one of those balls to me.

Nick rolls a ball to Kyle, hitting him in the heels. Kyle
picks it up, deflecting a couple more lobs.

MATT
You and your little girlfriend
gonna hide back there all day or
you gonna do something about it?

Matt's posse snickers.

NICK
(worried)
Kyle?

Kyle moves over to the far side of the court. He continues
watching Matt.

KYLE
Nick, I'm gonna cross the court
and take these punks out. As soon
as I launch a ball, feed me
another, got it?

NICK
Got it. Be careful, pal.

Kyle croutches down and immediately draws several more balls
his way. With Matts's group rearming, Kyle starts running
across and towards the center line.

With incredible speed and grace, he leaps in the air, takes
aim and launches his ball at one of the boys. WHAM! A solid
hit in the stomach. The boy falls to the floor, gasping for
breath.

16.

MATT
Get him!

Matt and two remaining boys unleash two balls towards Kyle.

KYLE
Ball!

As Nick sends a ball through the air, Kyle begins a grand
jete' across the gym, catching the ball mid leap. Kyle
continues the jumps, including several spins, as Matt's
balls miss him.

Coming out of a spinning leap, Kyle picks off another
opponent with a sharp shot to the side of the head. The
victim laid flat.

KYLE
Now, Nick, now! Attack!

Nick throws another ball to Kyle, picks up two of his own
and shadows Kyle as they approach the center line.

MATT
Spread out! Watch your flank!

At the exact same time that Matt and JOSH MAIER spread
apart, Kyle launches a ball at Josh, taking him out.

Matt instantly hurls a burner at Nick, Kyle leaps in the
air, grabs the ball fed to him by Nick and intercepts Matt's
shot with the ball. Both balls explodes, showering everyone
with ball shrapnel.

Kyle and Matt both go for a new ball. Kyle reaches his
first, but slips on a piece of ball, slightly losing his
balance. This is all Matt needs. He grabs his ball, runs up
to the line and blast a low shot at Kyle.

Kyle, using one hand, pushes himself into a hand stand, then
flips backwards. The ball, in slow motion, grazes his now
untucked shirt.

Kyle screams as Mr. Cross blows his WHISTLE signaling Kyle
is out. Matt then flashes an evil grin, grabs two balls and
rushes the line again.

Nick, now frozen in place, suffers two quick shots, one to
the head and one to the groin. He drops like a sack of
potatoes. Matt's team, on the sidelines, goes crazy, mauling
Matt.

17.

EXT. SCHOOL - DAY

A BELL rings from inside the school and the front doors
burst open, disgorging the students. Nick, with a huge white
bandage on this head, and Kyle, wearing tights and a tuxedo
tunic, make their way down the front steps.

Rushing through the crowd, Matt, Josh and the rest of Matt's
dodgeball buddies, now in football gear, shoulder past Kyle
and Nick.

MATT
(taunting Kyle)
Nice outfit, sweetie. You must be
stunt doubling for a little fairy
today.

Matt's friends chuckle.

NICK
I hope the ball gets stuck in your
face mask!

Matt's group stops and stare at Nick. After a beat, they
burst out laughing, then continue on to the sports fields.
Kyle and Nick walk towards the parking lot and waiting cars.

KYLE
You hope the ball gets stuck in
his face mask? Good one, Nick.

NICK
Yeah, well?

Kyle smiles at his friend.

KYLE
I don't know why you put up with
the same beating every Friday. Why
don't you say something to the
principal?

NICK
Why, so I'll be the guy who can't
take care of himself? No way,
Kyle. Once you get that rep, you
never lose it. Know what I mean?

KYLE
Oh yeah, I know. Try being the
only person in the history of this
school to take ballet instead try
out for football. Not exactly the
(MORE)

18.

KYLE (cont'd)
reputation a guy wants to have.

Nick and Kyle stop walking in front of a black limousine and
glance over towards the football team. Mr. Cross has
gathered the players around for a chalk talk. While Kyle
stares at him, Matt turns around and makes a fist at Kyle.
Nick catches the exchange.

NICK
What is it with you and Matt
Steinburg, anyway? He really seems
to have it in for you?

KYLE
Nothing that's worth wasting any
more time on, that's for sure.

A beautiful young woman in a chauffeur's uniform gets out of
the limousine and smiles at the boys. Both smile back, then
Kyle looks over and sees his Mom pull into the lot.

KYLE
Well, that's my Mom. I'm not doing
anything this weekend, if you
wanna come over.

CHAFFEUR
He's got New York this weekend,
Kyle.

NICK
Sorry, buddy. Well, see you
Monday. Have a good one.

KYLE
(disappointed)
Yeah, OK, see you.

Tasha HONKS the horn, trying to hurry Kyle. He frowns, then
slowly makes his way over to the car.

INT. TASHA'S LAND ROVER - DAY

Tasha, now all dolled up, weaves in and out of traffic.

TASHA
So I've got Sean all set to pick
you up after practice. You two
will be on your own tonight for
dinner. Got it?

19.

KYLE
Sounds cool. So, uh, Mom,
football?

TASHA
I'll talk to your father tonight,
OK?

KYLE
Then I can talk to him about it
this weekend?

TASHA
That may be a little difficult.
Your father will be working all
weekend. They're getting a little
behind and he needs to get a
couple of the big scenes shot.

KYLE
Oh, come on, Mom. Next season will
be here before I get a chance to
even convince him... unless?

Tasha see Kyle grinning in her rear view mirror.

TASHA
Oh no, young man!

KYLE
Awe Mom, he said he would take me
onto the set. He promised, and you
know it! I'm still gonna be a
stuntman, Mom, no matter how hard
you try and stop me.

Tasha struggles with Kyles statement. She knows it's true.

TASHA
Your weekend is already all booked
up. You've got dive tomorrow
morning, gymnastics on Sunday and
you HAVE to clean your room. I
just don't think it's going to
happen.

KYLE
It's the same thing every week! My
whole life is scheduled to the
minute. Please, just once, can't I
do something different, something
that isn't kicked out by your
Blackberry?

20.

Tasha pulls up in front of the Beverly Hills School of
Ballet and stops. Several girls at the entrance look over,
smile and wave at Kyle.

TASHA
You will, when we can fit it in.

Kyle rolls his eyes.

TASHA
Now get going. Sean will be here
when you get out. Have a great
evening, honey. I love you.

Kyle climbs out of the car and heads towards the eagerly
awaiting girls.

KYLE
Love you too, Mom.

Tasha, with a sad look on her face, watches Kyle wade into
the girls. The girls swallow him up as he disappears inside.

EXT. LEFORCE MANSION - NIGHT

SEAN LEFORCE races his 1971 Mustang Mach 1 up the driveway.
MUSIC blares from his STEREO. The midnight blue car
screeches to a stop in front of the main entrance, barely
missing a spouting mermaid fountain. The music stops as he
cuts the engine.

Kyle, riding shotgun, quickly climbs out through the open
passenger window, reaches back in and grabs a hand carved
wood CANE. He runs over to the driver's door as Sean, now
late 20's, throws the door open.

Kyle hands him the cane and moves over to Sean's other side
so Sean can lean on him. Sean tussles Kyles hair as he limps
into the house.

INT. LEFORCE MANSION - NIGHT

Sean struggles over to the couch, where he flops down.

KYLE
Come on, come on! I gotta show you
my latest trick. I'm never home
alone like this! This will prove
I'm ready for real stunts.

21.

SEAN
(laughing)
You're gonna kill yourself!

KYLE
I am not. I've done it like a
million times! Just watch!

With Sean looking on, Kyle races up the grand staircase and
runs into his parents room. With his back against the far
wall, Kyle takes a deep breath, raises on his toes, then
starts his run.

Sprinting at top speed, he leaps up onto the railing
bordering the great room and flies through the air in a near
swan dive. As he begins his descent, he grabs hold of a
suspended chandelier, swings forward, releases, completes a
one and a half twisting flip and sticks a perfect landing
right in front of a stunned Sean.

SEAN
OH MY GOD!

KYLE
(beaming)
Pretty cool, huh!

SEAN
Uh ...yeah! But, I'm telling you,
never, ever let Mom see you do
that. She will have a heart attack
and die on the spot.

KYLE
I know!

Kyle then takes off, performing a series of gymnastics moves
around the living room.

KYLE
So which James Bond movie do you
want to watch tonight?

Sean smiles, shakes his head and leans back into the couch.

INT. LEFORCE MANSION - DAY

Sean and Tasha enjoy a cup of coffee as they watch Kyle
through the huge living room windows practice various high
dives into a large swimming pool. Sean grins while Tasha
looks concerned.

22.

TASHA
You know all he talks about is
becoming a stunt man. It's all I
can do to keep him from hanging
from the chandeliers.

Sean gives Tasha a questioning look. She misses it.

SEAN
Mom, don't worry so much. There is
nothing that kid can't do.

TASHA
That's what we used to say about
you, and well...

SEAN
Mom, Kyle's twice the athlete I
ever was. Letting him do something
that involves physical contact
isn't gonna kill him. I mean, have
you really watched what he can do?

They both watch as Kyle completes a triple off the high
board. His form perfect. Sean sees Tasha's worry.

SEAN
He isn't me, Mom. You can't
protect him forever.

INT. LEFORCE KITCHEN - DAY

Tasha finishes a sandwich and puts her plate in the
dishwasher. Kyle walks in and wanders around, bored.

TASHA
So I have my meeting this
afternoon. I want you to work on
that disaster of a room. Tonight,
we'll talk about the football
team.

KYLE
(excited)
Great! Thanks, Mom.

INT. LEFORCE GREAT HALL-LATER - DAY

Kyle watches from the front door as his Mom drives off.
After she is gone, he wanders around the living room,
inspecting everything. Outside, a strong wind blows, pushing

23.

the door open to the pool deck.

Kyle sighs and walks over to shut the door. From outside, a
loud WHINE sound cuts through the silence. Kyle stops
closing the door and listens out over the pool area. After a
beat, he hears the sound again, only now sustained.

EXT. LEFORCE MANSION-POOL AREA - DAY

Curious, Kyle steps out and walks around the pool and over
to a huge hedge bordering the back of the property. After
following the hedge for a several feet, he reaches in, parts
several branches and reveals an iron gate. He squeezes
through the opening, opens the rusty gate and pushes his way
in.

EXT. HAROLD LLOYD PROPERTY - DAY

Laid out in front of Kyle is a huge vacant lot. Mounds of
earth sit pushed up in various places, including one right
next to him. A hundred yards away, two Hispanic MEN kick a
soccer ball.

Parked on the street fronting the lot is a white
landscaper's truck. RODGER BASU, Indian, small mustache,
suit, is in deep conversation with a middle age Hispanic
gentlemen wearing green coveralls.

Kyle focuses on the soccer players when suddenly the loud
WHINE returns, followed by a MOTORCYCLE flying off the top
of the dirt mound next to him. Kyle instantly hit the deck
as the cycle flies right over his head, missing him by
inches.

Landing several yards away, the helmeted rider power skids
to a stop and stares at Kyle from behind a black windscreen.

KYLE
Whoa! You almost clipped me!

The rider gets off the bike, pushes down the kick stand and
walks up to Kyle.

KYLE
Don't you think you should, you
know, watch where you're going?

The helmeted rider stares at Kyle a moment, then turns to
walk back to the bike. The two soccer players across the
property have stopped kicking the ball and are now watching
the exchange.

24.

KYLE
Hey buddy, I'm talking to you!

Kyle take hold of the riders shoulder, stopping them in
their tracks. The rider turns around and grabs Kyle's hand.
In one swift motion, the cyclist spins Kyle around, wrenches
his arm back and flips him completed forward and onto his
back.

Stunned, Kyle tries to get up, but is pinned to the ground
by the riders black leather boot. The boys playing soccer
laugh and cheer before returning to kicking their ball.

KYLE
(frantic)
I didn't mean anything. I just
wanted to let you know I was
standing here.

Staring up at his captor, Kyle squints against the sun as
the rider removes her helmet.

MARIA LOPEZ, 15, Hispanic, very pretty in a teen way, shakes
her long black hair out and moves her foot off Kyle's chest.
Kyle, stunned, grabs her outstretched hand as she pulls him
up.

KYLE
You're a girl.

Maria snickers and starts walking back to her bike. Kyle
follows.

MARIA
I am?
(laughs)
Hey Jose, Martin. Did you hear
that? I'm a girl.

The boys laugh again.

KYLE
Sorry. I just wasn't expecting to
have a girl fly over my head on a
motorcycle, then kick my butt all
over the place.

Maria arrives back at the motorcycle and takes off her
jacket. Underneath, she sports an ancient "Evil Knievel"
t-shirt.

25.

MARIA
Well, I wasn't expecting some
fancy pants to crawl out from
under that huge hedge and walk
right in front of my jump.

KYLE
I guess I did kind of get in your
way. I heard your bike from my
house over there.

MARIA
You live over there? In that big
house?

KYLE
Yeah.

MARIA
Is it, you know, pretty cool
living in there?

KYLE
I guess, sure.

Maria rolls her eyes at Kyle's oblivious response to his
pampered life and gets back on her bike.

MARIA
Well, I guess I'll see you around.

Kyle looks back towards his house, then over to Maria.

KYLE
Hey, would you like to see my
house? I mean, if it's OK with
your Dad?

Kyle gestures towards the MAN next to the pickup.

MARIA
I, uh, don't really have a Dad,
that's my uncle. And the two
knuckleheads with the
soccerball...

Maria points to the two young man now staring at her and
Kyle.

MARIA
...those are my cousins.

26.

KYLE
Oh, OK. Well, do you want to come
over?

MARIA
Normally I would, but, well... you
see this bike?

KYLE
Yeah, it's really tight.

MARIA
Well, today is my birthday, I'm
fifteen. And I just got this bike
today. And, see, I don't think
I'll be getting too many chances
to ride in the city like this,
especially in Beverly Hills, so, I
think I'd rather keep riding.

KYLE
Hey, that's cool, I understand.
I'd do the same if I knew how to
ride.

Maria and Kyle stare at each other a beat, then Kyle starts
to leave.

KYLE
So, uh, I guess I better get going
then. It was nice talking to
you...?

MARIA
Maria, Maria Lopez.

KYLE
Maria, Maria Lopez. See you
around.

MARIA
And you are?

Kyle quickly turns back towards Maria.

KYLE
I'm Kyle, Kyle LeForce.

Kyle and Maria stare sheepishly at each other, not sure what
to do next.

27.

MARIA
You know, if you want, you can try
out my new bike. I mean, if you
have the time.

KYLE
(excited)
Really? That would be great. I
always wanted to try riding a
motorcyle.

MARIA
You've never ridden before?

KYLE
No, but I'm pretty quick at
learning new things. Is it OK?

MARIA
(smiles)
Come on, tough guy, I'll get you a
helmet. Then we'll see what you've
got.

Maria jumps on the aging bike and fires it up. She signals
for Kyle to jump on behind her, then tears off towards the
pick up truck.

SERIES OF SHOTS

-Kyle, now wearing a pink helmet, tries to start off,
accelerating the bike out from under himself over and over.
Each time, landing in the dirt.

-Kyle slowing riding around the lot, hitting a large hole
and flying off the bike, landing on his back

-Kyle moving at a good clip now, going off a small jump,
landing, then bouncing off the bike. Maria and the soccer
guys all laughing.

-Kyle racing across the lot, circling Maria and the soccer
playing kids, now in control of the bike, racing up a huge
mount of dirt and flying, slow motion, through the air.

-Kyle landing at full speed, front wheel first, flying off
the bike, landing ass first with a thump. His helmet flies
off and the soccer ball immediately smacks him in the face.

-Maria falling to the ground, laughing.

Maria walks up to Kyle as his dusts himself off. She looks
at her bike, shaking her head.

28.

MARIA
You sure did a number on my new
bike.

KYLE
I'm so sorry. I'll pay to fix
anything that broke.

MARIA
It should be OK. So, you really
took a beating out here.

KYLE
Yeah, well, I'm sort of a known
risk taker.

MARIA
That's an understatement.

A HONK sounds from Maria's uncles truck. Both Maria and Kyle
look over and see the boys jump in the back.

MARIA
Well, it looks like its time for
me to go.

KYLE
Will I get to see you again?
(quickly)
Here, you know, with your bike?

MARIA
Maybe. So, you call yourself a
risk taker, right?

KYLE
Yeah.

MARIA
Well, how would you like to take a
big risk and come to my birthday
party tonight? It's just me and a
few people from my family. My
mom's a great cook and I promise,
I won't make you ride the
motorcycle again.

Another HONK from the truck.

MARIA
Well?

29.

KYLE
(a beat)
Uh, yeah, sure ...absolutely, I'd
love to come.

MARIA
Cool. Here's my address...
(hands him a card)
...see you about six?

KYLE
OK, see you.

Maria gives Kyle a dazzling smile, then jumps back on her
bike and races down towards the truck. Kyle watches her go,
a grin spreading out across his face as he checks out the
card.

INT. TASHA'S LAND ROVER - NIGHT

Kyle, hair plastered to his head, nervously watches out the
window as they pass numerous non-descript apartment
buildings. Tasha checks addresses on the buildings while
she eyes the loitering Hispanic youths in front of the
apartments and on the street.

TASHA
You certainly surprised me with
this plan. I thought you wanted to
do something with Nick this
weekend?

KYLE
He flew to New York again. His dad
had some big meeting with his
board of directors.

TASHA
Interesting neighborhood your new
friend lives in.

KYLE
Yeah. I don't think I've ever
really looked around this part of
Burbank before.

TASHA
Me either.

30.

KYLE
Kinda weird, isn't it, with Dad's
studio just over on the next
block.

Kyle tilts his head towards the bright lights blazing from
behind the studio walls a block over.

TASHA
OK, I think were getting close.
Should be just past this next
intersection.

Tasha stops for a red light. A limousine pulls up next to
them and the the rear window comes down. Inside the limo
sits a grinning Matt Steinburg. He signals Kyle to put his
window down. Kyle reluctantly complies.

MATT
What are YOU doing down here,
LeForce?

KYLE
Going to a friends birthday party.

MATT
Must have some real loser friends
to live in this area.

KYLE
What do you want, Matt?

MATT
MY Dad is taking me over the
studio to watch them prep for the
the big stunt tomorrow. Too bad I
never see YOU on the lot.

Kyle ignores the taunt. The light turns green. Tasha
continues forward while the limo takes a right.

MATT
See you later, loser!

TASHA
Just ignore him, Kyle.

KYLE
He's right, you know. Dad hasn't
taken me onto the lot in years.
Can't you ask him about going
tomorrow, Mom. Missing one
gymnastics practic won't kill me.

31.

Tasha pulls up to a four story apartment complex. MUSIC
sounds from inside the building. Several people come and go
through the front doors.

            TASHA
I'll talk to you father tonight.
Fair enough?
      (looks at the
       building)
So, I'll meet you right here at
nine o'clock. You sure you don't
want me to go in with you?

KYLE
I'm fine, Mom. Thanks for the
ride.

Kyle, carrying a small present, climbs out and strolls over
to the front doors. After a quick look back to his worried
MOM, he goes inside.

INT. APARTMENT BUILDING LOBBY - NIGHT

Kyle walks into a neat but run down lobby area. He spots a
sign taped on the elevator, "Out of Order." He signs and
heads towards the stairway.

INT. APARTMENT HALLWAY - NIGHT

Kyle opens the stair door for the fourth floor and slowly
makes his way down the deserted hallway. He checks the door
numbers until he arrives at 425.

After straightening his shirt and giving his hair a pat, he
knocks. A split second later, the door is thrown open by an
ancient Mexican woman. Crowd noise and music spill out from
the apartment.

She spots Kyle, grabs him by the shirt and pulls him in.
Silence again fills the now empty hallway.

INT. APARTMENT - NIGHT

The old woman whisks Kyle through a huge crowd of Hispanic
men and women, all dressed in suits and dresses and out onto
a large outdoor deck. Streamers and party favors cover the
railing.

Parting the crowd, she pulls Kyle into the middle of an open
space surrounded by people clapping to blaring Mexican

32.

music.

He immediately is approached by another woman, JULIA LOPEZ,
late 30's, attractive, who grabs him by the face, plants a
huge kiss on his lips, much to the delight of the crowd, and
slaps a blindfold on him.

Now blindfolded, Julia spins him around several times as
another woman hangs a large pinata over his head. When Julia
stops Kyle, he immediately falls to the floor.

The crowd howls. Stepping out from behind a group of
teenagers, Maria, beautiful in a cream colored dress, moves
forward and helps Kyle up.

MARIA
How you doing, Mr. LeForce?

KYLE
Maria? Is that you?

MARIA
It's me, Mr. Risky Business. Are
you ready for some fun?

KYLE
I can't see and I think I might
throw up.

MARIA
Sounds like your ready, then.

Julia returns to Maria's side and hands her a long stick.

JULIA
(in Spanish)
Your new boyfriend is very
handsome!

The crowd loves it.

KYLE
Boyfriend?

MARIA
You speak Spanish too?

KYLE
(in Spanish)
Always have. Now tell whoever that
is I'm NOT your boyfriend!

33.

            MARIA
      (in Spanish, to
       the crowd)
He won't be my boyfriend.

The crowd boos.

            MARIA
      (smiles)
You might have to reconsider,
tough guy, if you want to get out
of here alive. Now...
      (hands Kyle the
       stick)
...take this and start swinging.
When I say so, you can stop...OK?

KYLE
Uh, OK.

Kyle starts swinging wildly, nearly taking out several of
the old women on the edge of the circle. After numerous
misses, Maria steps back in and takes hold of his hands.

MARIA
Let me help you, Kyle.

Maria guides the stick, still in Kyle's hands, up to the
pinata and has him tap it a couple times.

MARIA
OK. I'm gonna let go, you got it?

KYLE
Got it.

Taking a big breath, Kyle swings the stick back, then
forward with all his might. The donkey shaped pinata takes
the hit squarely in the backside and explodes, showering the
crowd with candy and toys. All the younger party goers leap
on top of Kyle trying to get the fallen treasure.

INT. APARTMENT-LATER - NIGHT

Kyle enjoys a huge plate of food as he watches Maria dance
with several of the guests. Next to him, Julia sets more
food on a table already overflowing with numerous Mexican
dishes. After making sure everything looks perfect, she
moves over next to Kyle.

34.

JULIA
(accented English)
Thank for for coming tonight,
Kyle.

            KYLE
Thank you for inviting me, Mrs.
Lopez. I'm having a great time.
      (a beat, checks
       out the room)
Ma'am, I was just wondering if any
of Maria's other friends would be
stopping by the party.

Julia gives Kyle a thoughtful smile.

JULIA
I'm afraid with all the moving
around we've done the last few
years, Maria hasn't really had a
chance to make a lot of friends
here yet. We need to live where
ever I can get bookkeeping work.

Julia gives Kyle a squeeze on his arm.

JULIA
Thanks again for coming, Kyle,
really. I know she would never
admit it, but she is very happy
you are here.

Julia gives Kyle a smile, then returns to the kitchen. Kyle
watches her go until Maria comes over and starts pulling him
onto the dance floor.

KYLE
Oh no! No way, Maria. Please don't
make me do this.

MARIA
Come on, tough guy. Show us how
how a boy from the hills does it.

Maria yanks a reluctant Kyle out onto the dance floor as the
crowd cheers them on. With a gusto that surprises everyone,
especially Maria, Kyle grabs her and leads her in the tango
around the entire room.

SERIES OF SHOTS

-Maria cuts an enormous cake with Kyle at her side.

35.

-Kyle hands Maria her present. She gives him a huge hug
before even opening it.

-Maria watches Kyle as he dances his way through a parade of
old women.

-The tough teenage Hispanic cousins watch Kyle closely as he
talks to Maria.

EXT. APARTMENT ROOFTOP. - NIGHT

The rooftop door burst open with Maria leading Kyle over to
the ledge.

MARIA
I have to show you the view from
here.

They arrive at the ledge and she points out towards the
blazing studio a block over.

MARIA
That's the studio where they are
filming that new movie. You know,
the one with Manisha Basu. I come
up here sometimes to watch.

KYLE
Uh, cool. You know, I...

MARIA
(interrupts)
They blow stuff up and everything!
Last week, they had all these
helicopters flying around with
people falling out of them.

KYLE
Maria, I think you should know
I...

MARIA
(interrupts again)
..And tomorrow I heard they're
doing a big motorcycle stunt! That
would be awesome to see.

KYLE
(yells)
Maria!

Maria stops talking and stares at Kyle.

36.

KYLE
Sorry I yelled. there's some
stuff, actually, a lot of stuff, I
want to tell you.

EXT. APARTMENT ROOF-LATER - NIGHT

Kyle and Maria both lean on the ledge staring into the
night.

MARIA
So your Dad is actually directing
the movie?

KYLE
Yeah. He did the first one too.

MARIA
I can't believe they've kept him
from making any movies since.

KYLE
Hollywood is a very small town,
really. When people thought my Dad
didn't run a safe set, they didn't
want to work with him. When my Dad
got Manisha Basu to agree to this
sequal, the studio had no choice
but to hire him to direct, Manisha
demanded it. The only problem is
that the studio appointed
Steinburg as the producer. He's
the one that ruined things for my
Dad.

A beat.

MARIA
I'm sorry about your brother.

KYLE
Yeah, the problem with that is
since his accident, my mom won't
let me near the set. She's so
afraid something will happen to
me.

MARIA
(smiles)
Kinda makes it tough for you to
become a stuntman, huh?

37.

KYLE
It's funny. By making me take
ballet, gymnastics and diving
instead of football, my Mom has
actually help train me to be a
fall guy.

MARIA
Fall guy?

KYLE
(smiles)
Yeah, you know, a guy that falls
off things.

MARIA
You know what I think?

KYLE
What?

MARIA
I think you're crazy.

KYLE
Yeah?

MARIA
Yeah.

Kyle and Maria gaze at each other until a horn HONK
interrupts. Kyle looks down to the street. His Mom's CAR
sits idling in front of the building.

KYLE
Crap, that's my Mom.

They start walking towards the rooftop door.

KYLE
So I'll call you if the miracle
happens.

MARIA
The miracle?

KYLE
Yeah, if I actually get to go on
the set tomorrow. Wanna go too?

MARIA
Absolutely!

38.

Kyle and Maria disappear through the door.

INT. LEFORCE MANSION - NIGHT

Kyle lays in his bed looking at the ceiling when he hears
his Dad speaking to his mother from their room. He sits up
in bed and strains to listen.

TASHA (os)
He's asking about the football
team again.

ANTON (os)
I don't know, Tash, you know about
the head injuries.

TASHA (os)
Try selling that to a 12 year old,
Anton.

Kyle grins.

ANTON AND TASHA'S BEDROOM

Anton undresses at the closet while Tasha lays in bed.

ANTON
I'm sorry, Tasha, but now is not
the time for football. Between the
cost charged by the school,
uniforms, travel and all the other
fees, we can't really be spending
that right now. Not until I get
this movie out.

TASHA
I'm worried, Anton.

ANTON
We already let the maid, cook and
most of the yard crew go. And you
know Sean still needs that last
surgery.

TASHA
I could strangle Hauer Steinburg
for the pitiful insurance he
bought to cover the stunt crew.
It's almost criminal you know.

39.

ANTON
We've been over this a million
times. We'll keep paying for
Sean's rehab. we have no choice.

KYLE'S ROOM

Kyle, now sitting on the floor next to his open door,
continues to concentrate on his parents conversation.

TASHA (os)
You're right of course. Family
always comes first. So, what about
the set visit. He's dying to go.

ANTON AND TASHA'S BEDROOM

Anton, now in pajamas, walks over and looks down at his
lovely wife. A big smile covers his face.

ANTON
I'll tell Kyle first thing in the
morning. I'd love to have him. His
new friend too.

As Anton climbs into bed and shut off his table lamp, Kyle's
door slowly closes.

INT. ANTON'S CAR - DAY

Kyle and Anton cruise down street in his Mercedes, top down.

KYLE
Thanks again for taking me in,
Dad. I can't wait.

ANTON
Glad I finally got the chance.
Been pretty busy trying to catch
up with the production schedule.
Manisha's been sick and it's hard
to shoot her action scenes without
her there.

KYLE
And you're cool with Maria coming
over to hang out?

ANTON
(teasing)
You mean your new girlfriend?

40.

KYLE
Dad!

            ANTON
      (laughing)
Hey, hey, hey, don't blame me.
Your mothers the one with the big
mouth.
      (a beat)
Yeah, it's great Maria is coming
too. I do have a meeting with
Hauer and the studio guy, so you
will be on your own for a while.
Why don't we meet up in an hour
and I'll show you guys the
storyboards for the shot today.
OK?

Anton pulls up to the gate for the studio. Kyle jumps out.

KYLE
No problem, Dad. I'll see you
later.

Kyle waits on the sidewalk as Anton drives through the gate
onto the studio lot. A moment later, a tricked out Impala
convertible pulls up driven by Maria's cousins.

Maria jumps out, slings on a small backpack, and walks up to
Kyle. She sports a "Revenge for Justice" faded tee-shirt.
The car pulls away.

KYLE
Hey, Maria.

MARIA
This is so awesome, Kyle! Thanks
for inviting me. I can't wait.

KYLE
Come on, you're gonna love it
here.

Kyle and Maria run past the waving guard onto the lot.

INT. STUDIO LOT - DAY

Kyle and Maria stroll through the lot between huge sound
stages on either side. The large doors are open on the
buildings.

Stage hands, technicians and actors in all sorts of costumes

41.

and make up cross their paths. Kyle grins while Maria's
mouth hangs open.

MARIA
I can't believe all the people
that work in here.

KYLE
Your average movie takes over 500
people to make. And the big action
special effects movies, they can
involve over 2000.

MARIA
I never really thought about it
before.

KYLE
Movies need people to handle any
animals that are on the set,
personal trainers, costume and
make up people, people to build
the sets, trailers for the stars
to live, even caterers to feed
everyone.

MARIA
I guess feeding 2000 people can be
quite a job.

KYLE
Trust me when I tell you, you
don't want your star actor or
actress having their stomach groan
on camera!

MARIA
(laughs)
I guess not.

Kyle stops walking and looks over at a large building off of
to his left. A sign stenciled over the door reads "Sound
Stage."

KYLE
Come on, wait 'till you see this.

Pulling Maria along, the kids race into the building.

42.

INT. WESTERN SOUND STAGE - DAY

Kyle and Maria race into a darkened building. While Maria
peers into the shadows, Kyle slips away and throws a large
power switch. Huge overhead LIGHTS blaze on revealing a
western saloon set. They rush in.

SERIES OF SHOTS

Kyle tries on cowboy hats while Maria models different
western dresses.

Maria serves Kyle a large beer and shot of whiskey.

Kyle practices his six shooter quick draws.

Maria dances a jig while Kyle pretends to pound the keys on
a player piano.

Outside the saloon doors, Kyle lifts a huge boulder over his
head as Maria laughs and claps her hands.

Kyle and Maria walk off arm in arm into a blazing fake
sunset as the lights shut off.

EXT. STUDIO LOT - DAY

Kyle and Maria, now back in their regular clothes, walk down
the main street filled with cars. Up ahead, Anton is in a
heated conversation with Hauer and the studio gentleman.

KYLE
Looks like Dad is still in his
meeting.

MARIA
What should we do now?

TRIG (os)
Hold it right there, partner.
Don't move.

Maria and Kyle both whip around at the strange voice.
Standing behind them grinning is Trig Majors. Manisha is
with him.

KYLE
Trig!

Kyle hugs the aging stuntman as Maria and Manisha look on.

43.

TRIG
I heard you were going to be here
today. So who's your friend?

KYLE
Trig, this is Maria Lopez. Maria,
Trig Majors.

            TRIG
      (shakes Maria's
       hand)
Nice to meet you, Maria.

MARIA
Nice to meet you too, Mr. Majors.

TRIG
Trig.

MARIA
(smiles)
OK, Trig.

Manisha clears her throat.

KYLE
Oh, gosh, sorry! Hi, Manisha.

MANISHA
I thought maybe you are too old
now to remember me?

KYLE
I can never forget my favorite
action star.

Maria bounces next to Kyle, waiting for her introduction.
Kyle purposely ignores her.

KYLE
It took me a minute to recognize
you with that short hair.

Manisha touches her head.

MANISHA
I just wanted a change, you know?

Kyle smiles as Manisha walks right up next to him.

MANISHA
Speaking of changes, look how tall
you are now. We are the same size.

44.

MARIA
(under her breath)
Kyle!

KYLE
(grinning)
You're right. We are.

MARIA
Kyle.

Kyle continues to ignore Maria.

KYLE
People will certainly notice your
new hair cut in the movie.

MANISHA
Oh no. Your father has me wearing
a wig. Can't have me running
around without a head of long
hair. The director has been very
clear on that.

MARIA
Kyle!

Trig, Manisha and Kyle all stare at Maria. Now she is
embarrassed.

KYLE
Oh. Maria, this is Manisha Basu.
Manisha, this is my new friend,
Maria. She is very excited to meet
you.

MARIA
(star struck)
I'm very excited to meet you.

KYLE
She'd like to talk to you
endlessly about how wonderful you
are, but realizes you need to get
to work.

MARIA
I would.I do.

KYLE
Good bye.

45.

MARIA
It was very nice meeting you. Good
bye.

Everyone looks at Maria a beat, then bust out laughing.
Maria continues to stare wide eyed at Manisha.

TRIG
Maria, how would you like to go on
the final walk through with us for
the next stunt. Would you like
that?

MARIA
Oh yes!

TRIG
Wonderful. Come on everyone, lets
get to it.

The group all troop off together down the traffic filled
set. Maria jabbers at Manisha with Trig and Kyle leading
them. As they pass a grocery store front, Matt looks out
through a window.

EXT. STUDIO LOT LATER - DAY

Trig, Manisha, Kyle and Maria walk back towards a cluster of
big trailers.

TRIG
OK, Manisha, time to get into
costume. We roll film in 15
minutes.

MANISHA
I'll be ready, Mr. Majors.

Trig breaks off and heads toward a group of stuntmen waiting
by some black Suburbans.

MANISHA
Would you like to join me for a
quick lunch, Maria?

MARIA
That would be great. I have mine
in my backpack.

MANISHA
Kyle, would you mind picking up my
leathers from the prop master?

46.

KYLE
No problem. I'll be right back.

The group breaks up with Kyle heading over to a woman
fussing with some extras costumes. Maria and Manisha walk
over to her trailer and go inside.

PROP MASTER'S STATION

After being handed a leather motorcycle outfit, Kyle starts
walking back to Manisha's trailer. Before getting three
steps, Matt cuts him off.

MATT
Nice of you to be helping your Dad
out today, LeForce.

KYLE
Get out of the way, Matt, I'm
busy.

MATT
I hear your fathers is having some
trouble keeping to the schedule.
Hear he's costing the studio a lot
of extra money.

Kyle starts walking again, trying to ignore Matt. Matt
follows him.

KYLE
Beat it, Matt.

MATT
I don't think you get it, do you,
LeForce. Word on the lot is he
better get it together or he's
out.

Kyle stops walking and stares at Matt.

KYLE
You're crazy.

MATT
Seems he can't get his action star
to show up on time. Seems he ends
up with a lot of people standing
around getting paid to not make a
movie.

47.

KYLE
(unsure)
He'll get it done, don't you worry
about it.

Kyle starts walking again leaving Matt behind.

MATT
(to Kyle's back)
It's not me that should be
worried, Kyle.

MANISHA'S TRAILER

Kyle walks up and hangs the leathers on a hook next to a wig
of long black hair, make up case and large black sunglasses
on a plastic holder.

Next to the trailer sits a picnic table laid out with two
plates, food and Maria's open backpack. Mari and Manisha are
no where to be seen. While Kyle looks around, Trig walks up
pushing a motorcycle.

TRIG
We are all set. Can you tell
Manisha we need her at the start
mark in 5 minutes ready to go.

KYLE
Will do.

Trig smiles and heads off to a camera boom truck. As Kyle
eyes the MOTORCYCLE, Maria comes out of the trailer.

KYLE
Trig needs Manisha in five
minutes.

MARIA
I don't think she's going to make
it, Kyle.

KYLE
(alarmed)
Why?

MARIA
We were eating the lunch I brought
when she suddenly got up and ran
into the trailer.

48.

KYLE
Why? What the heck did you give
her? She can't miss anymore
shoots.

MARIA
(mad at Kyle)
I didn't GIVE HER anything. She
loved my Mom's cooking.

KYLE
So where is she?

MARIA
She's sick, Kyle, she's throwing
up.

KYLE
(worried)
Maria, please, will you go back
inside and see when she will be
ready. This is very important.

MARIA
I'll see what I can do, Kyle. I'm
sorry.

Maria hustles back into the trailer as Kyle nervously
watches everyone get ready for the shot.

            TRIG (os)
      (over radio on
       picnic table)
We're ready, Manisha, need you
now, please.

Kyle looks around and sees Anton on his boom chair waiting.
Ally nervously taps her clipboard. The extras are in place.

            KYLE
      (to the trailer
       door)
Maria? We need to get going out
here!

No response. Kyle tries the door, locked. He knocks.

KYLE
Maria?

TRIG (os)
(on the radio)
Now, Manisha!

49.

KYLE
Maria!

ANTON (os)
(bullhorn)
Background, go.

The street comes alive, pedestrians walking, cars driving
down the one way street in two lanes.

KYLE
(under his breath)
Damn.

Kyle eyes the MOTORCYCLE, WIG, LEATHERS and SUNGLASSES.

EXT. STREET SET - DAY

Trig stands on a raised platform next to a camera and
technician. Several more people surround the bottom of the
scaffolding. Fronting the platform is a false store front
depicting a bakery.

Spread out in front of him is a long busy street with two
lanes of traffic heading away from him. Off to his left on
the intersecting street, he spots the motorcycle rider,
complete with long hair, leather outfit and large black
sunglasses, stop on an X painted on the street.

Trig gives a slight nod and grabs his radio.

TRIG
(into the radio)
We are set here, Anton. Ready on
your signal.

ANTON (os)
(on bullhorn)
Here we go, people. Ready, action!

At the other end of the street away from Trig, a large gas
tanker truck with a trailer crosses the two lanes of traffic
at an intersection.

The truck stops suddenly when an ancient woman using a
walker crosses in front of the truck. The LIGHT turns green
and the two lanes of one way traffic starts honking for the
truck to move.

Down the street behind the motorcycle, three black Suburbans
slide around the corner at top speed. The motorcycle rider
looks back, then takes off, pulling a wheelie as they go.

50.

The Suburbans are closing fast.

Weaving in and out of traffic, the rider turns the corner
onto the main street. Cars cut back and forth trying to gain
position as traffic slows due to the block intersection
ahead.

Spotting the congestion, the motorcycle cuts back and forth
through the moving cars. Behind, the Suburbans slide to a
stop and several men in black suits jump out carrying
assault rifles. They immediately open fire on the
motorcycle.

The rider continues to cut through the blocking traffic as
car windows explode all around from the flying bullets.

Finally free of the moving vehicles, the motorcycle races at
top speed down the middle of the two lanes of traffic. Back
glass explodes all around the rider.

Several bullets hit car TRUNKS and cars explode in both
lanes, sending them flying on top of the other cars.

The rider looks ahead down the street and spots the blocking
tanker. Scanning the street behind the large black
sunglasses, the rider finds a large empty CAR CARRIER truck
in the left lane of traffic. The rider guns the engine.

Back at the Suburbans, the federal officers are now firing
from on top of their vehicles. From a sunroof, an officer
pops up shouldering a RPG launcher. Taking aim, he pulls the
TRIGGER and the grenade flies low down between the two lanes
of now destroyed cars directly at the rider.

The rider takes quick look back just as the grenade leaves
the launcher. Cutting left at the last possible second, the
rider hits the RAMPS on the back of the car carrier as the
grenade screams by and strikes the broad side of the tanker.

From the opposite side of the tanker, a huge explosion fills
the sky. Flying out of the fire ball the motorcycle rider,
hair and leathers on fire, clears the fiery mushroom cloud,
lands hard and races away down the empty street.

DIRECTOR'S BOOM

Anton signals to be lowered down from his boom camera chair.
Dozens of people around the truck erupt in applause. Cheers
fill the air.

ANTON
Cut! Cut! Cut! Get me down, get me
down!

51.

Racing down the street, the rider approaches the admiring
crowd. After slowing slightly to have the fire put out, the
rider races past the stunned group, including a staring
Matt, and disappears around the next corner.

EXT. MANISHA'S TRAILER - DAY

As the crowd of well wishers round the corner after the
motorcycle, Manisha, followed by Maria, exit her trailer.
Both are surprised by the crowd.

While the group approaches, Maria notices the STAND missing
the wig and glasses, along with the empty HANGER for the
leathers. While everyone congratulates a mystified Manisha,
Maria spots a large sliding DOOR slowly closing on the
adjacent sound stage.

She excuses herself to no one in particular and heads over
towards the door. Matt, on the fringes of the crowd, watches
her go.

INT. SCHOOL - DAY

A BELL RINGS in an empty hall. Immediately the doors fly
open disgorging students. Kyle and Nick follow several other
boys out and head towards their locker.

NICK
(under his breath)
You've got to tell your Dad, Kyle.
This could get a lot of people in
big trouble.

The boys arrive at the locker and start loading up their
backpacks.

KYLE
(quietly)
I know I have too. It was just so
awesome.

Finished with the locker, the boys join the crowd towards
the exit.

NICK
Have you talked to Manisha?

KYLE
Not yet. I'm meeting Maria at the
lot behind my house this
afternoon. After all the craziness
yesterday, we decided to talk
(MORE)

52.

KYLE (cont'd)
about it today before making our
next move. Will you come too?

NICK
Sure, I'll tell my Dad I need help
catching up with homework after
New York last weekend.

The boys walk out the front doors. Standing with his
friends, Matt spies Kyle. When Kyle sees Matt, Matt points
his first two fingers at his own eyes, then at Kyle. Matt's
got his eyes on Kyle.

Nick sees the exchange and pulls Kyle down the stairs past
Matt's group. They head out towards the waiting cars.

NICK
If Matt finds out about this, both
Manisha and your Dad will be
finished, you know that, don't
you?

KYLE
Let me worry about Matt. I'll see
you in a little while.

The boys split up with Kyle walking towards a waiting Tasha
while Nick folds himself into his limousine.

EXT. HAROLD LLOYD PROPERTY - DAY

Nick and Kyle squeeze through the huge hedge leading onto
the large lot. Maria's Uncle is again walking the lot with
the man in a suit. The cousin's didn't make the trip. Maria
practices with numb-chucks while she waits.

KYLE
Hey, Maria.

Maria finishes her practice with a flurry, then eyes Nick.

KYLE
Oh, yeah. Maria, this is my best
friend, Nick Cohen. Nick, this is
Maria Lopez.

Maria walks up and offered her hand along with a dazzling
smile.

MARIA
Nice to meet you, Mr. Cohen.

53.

Nick is stunned by Maria's confidence and beauty. He fumbles
his response.

            NICK
      (shakes Maria's
       hand)
Uh, uh, well, nice to meet you
too.

Kyle laughs at his friend.

KYLE
Call him Nick. His Dad is Mr.
Cohen. So, guys, what are we
going to do?

EXT. KYLE'S POOL DECK - DAY

Kyle, Nick and Maria sit around a patio table. Glasses of
half full lemonade and a partially eaten cake cover the
table.

NICK
So we have a plan.
(looks at Kyle)
You will fess up to your Dad about
the motorcycle stunt and beg for
for him to spare your life. I
can't imagine what he will do when
he finds out.

KYLE
He'll freak, and I will be
grounded forever.

MARIA
What about Manisha? When everyone
congratulated her yesterday, she
didn't say anything about not
actually doing the stunt.

KYLE
That's the thing that's got me
stumped. You'd think she would be
the first one to rat me out.

            NICK
It's settled then.
      (stands up)
I gotta get going. Maria, it was
great meeting you. If you ever get
tired of hanging with this
loser...
            (MORE)

54.

NICK (cont'd)
(points to Kyle)
...I'd love to show you my Dad's
new plane.

Kyle rolls his eyes, gets up and slugs Nick in the arm.

NICK
Owe! Stop it, you know I bruise
easy!

MARIA
(laughing)
I'd love to see his plane.

KYLE
Hey, Nick, can you give Maria a
ride home in the limo?

MARIA
Oh could you? I think my Uncle is
still working.

NICK
Be my pleasure.
(offers his arm)
Madam?

Maria smiles and takes Nicks arm. All three march into
Kyle's house.

INT. LEFORCE KITCHEN - NIGHT

Kyle sits at an eating bar while Tasha busily works several
pots and pans on the stove.

TASHA
Did you finish setting the table?

KYLE
Yes, Mom.

TASHA
Including the extra spot for
Manisha?

KYLE
Why is she coming over?

            TASHA
      (exasperated)
I told you, Kyle. your father
wants to discuss the new scenes
            (MORE)

55.

TASHA (cont'd)
they are coming up with for her.

KYLE
(nervous)
New scenes?

TASHA
Apparently the new studio chief
saw her big motorcycle stunt
yesterday and was so excited, he
bumped the budget to allow for
more spectacular scenes. Your Dad
had a meeting with Hauer and Trig
this afternoon to kick around a
few ideas.

KYLE
So Manisha doesn't know about this
new plan yet?

TASHA
Not that I know of.

Tasha hands Kyle a bowl of steaming vegetables.

TASHA
Can you set these out, please.

Kyle is lost in his own thoughts.

TASHA
Kyle! The bowl? Please set it on
the table.

Kyle snaps out of it.

KYLE
Oh, sorry, Mom. Got it.

Kyle takes the bowl and leaves the kitchen.

INT. DINING ROOM - NIGHT

Tasha finishes putting plates of food on the beautifully set
table. Anton pours a drink at a small bar next to the table.
Kyle nervously paces near the front door.

TASHA
That should do it. Now all we need
is your star, Anton.

56.

ANTON
(checks his watch)
Should be here any minute.

The door bell RINGS. Kyle races to the front door and throws
it open. Manisha smiles when she sees Kyle.

MANISHA
Hello, Mr. Kyle.

KYLE
We need to talk, I mean right
away, tonight!

MANISHA
(toys with him)
Why is that?

KYLE
(under his breath)
You know why!

ANTON (os)
Kyle, are you going to let her in,
son?

Kyle glances back towards his father, then moves aside to
let Manisha in. She gives Kyle a grin and a wink as she
makes her way into the dining room.

Kyle hears his Mom and Dad greet her. He shuts the door and
slowly follows her in.

INT. DINING ROOM-LATER - NIGHT

Everyone except Kyle sit enjoying their dessert. Kyle,
looking pale and clammy, watches the adults eat.

TASHA
Honey, are you feeling alright?

ANTON
I've never seen Kyle skip dessert
before.

Everyone chuckles. Kyle gives an uneasy smile.

KYLE
Just a little tired, I guess.

Kyle gives Manisha a sideways glance. She smiles and puts
down her fork.

57.

MANISHA
I think the new scenes will be
very exciting, Mr. Anton. When do
you think they will be ready to
shot?

ANTON
The writers and Trig will be
meeting in a few days. We should
have an idea on a revised schedule
probably in a couple weeks.

MANISHA
So I get two weeks off, yes?

            ANTON
      (laughs)
Hardly. We will be shooting
interiors out of sequence while
the new stunts are put together.
There will be no rest for you, I'm
afraid. After what you did
yesterday with the motorcycle gag,
we are not only back on schedule,
but looking at making possibly the
most exciting action movie in
recent memory.
      (a beat)
It's amazing. Last week everything
was a disaster. Now, we are full
speed ahead.

Kyle can only watch as he sees how excited his Dad is with
the new direction the movie has taken. Manisha's smile looks
strained.

INT. KYLE'S BEDROOM - NIGHT

Kyle tosses and turns in bed. The bedside clock reads
1:15am. A slight breeze billows the sheers on the open
window.

EXT. LEFORCE HOUSE - NIGHT

A dark figure darts from shadow to shadow across the well
manicured yard. Reaching the house, the figure quickly
scales the side of the house towards an open window.
Reaching the sill, she pauses, scans the area, then ducks
inside.

58.

INT. KYLE'S ROOM - NIGHT

Manisha, dressed in black, lands softly next to Kyle's bed.
Spotting all the action movie posters brings a smile to her
face. Kneeling down, she gently shakes Kyle's shoulder.

MANISHA
Kyle, Kyle, we need to talk.

Kyle stirs and opens his eyes. Seeing Manisha, he quickly
sits up.

KYLE
Manisha!

MANISHA
SSSHHHH.

Manisha tip toes over and silently shuts Kyle's bedroom
door. She then grabs Kyles desk chair and sits down next to
the bed. Kyle clicks on his bedside lamp.

KYLE
What are we going to do, Manisha?
Why didn't you tell my Dad about
the stunt? You just sat there the
whole time during dinner.

MANISHA
I'm pregnant, Kyle.

Kyle just stares at Manisha, not comprehending.

MANISHA
Do you understand, I'm going to
have a baby.

KYLE
Uh ...uh ...does my Dad know?

Manisha slumps down in the chair.

MANISHA
I can't tell him. They'd have to
shut down the movie. He'd be
finished. I won't let that
happenen to him, I won't.

KYLE
Why, I don't get it.

Manisha sits back up and focuses on Kyle.

59.

MANISHA
Look, Kyle, Revenge for Justice
made me, I mean really put me on
the map as a star. I owe
everything I have, everything I am
today to your father. Kyle, I'm
the reason your Dad is directing
this movie. I told the studio the
only way I would do this sequel is
if they brought your Dad back to
direct. This is his chance to get
back on top, do you follow me?

KYLE
I think so, but why can't you just
get a stunt woman to do the big
scenes?

MANISHA
My entire career, the first movie
with your Dad, the ones since,
I've always done all my own
stunts. It's what my fans and the
studio expect of me. If I had to
bring in a double, the whole world
would know, and your Dad would
take the blame again for something
that's not his fault.

They sit in silence a moment.

KYLE
Tonight at dinner, Dad said they
wouldn't be shooting any action
scenes for a few weeks. That's
about when my summer break starts.

Manisha listens.

KYLE
Manisha, I can do your stunts.

MANISHA
What are you talking about?

KYLE
I can do them, Manisha. I can be
your double, and no one has to
know.

60.

MANISHA
That's crazy, Kyle. You're not
trained, you could get hurt, like
Sean, or worse even.

KYLE
You saw what I did on that
motorcycle. And that was after
only riding one once. Please, we
can't let them shut down the
movie, we can't. It's too
important to my Dad.

Manisha wavers. Kyle keeps pitching.

KYLE
You can watch me, coach me, be
there the whole time. We can do
this, Manisha. You can do all the
acting stuff and I will slip in
just like I did with the
motorcycle bit, wear your
costumes, put on the make up and
do the stunts. Come on, Manisha,
you know this is the way it has to
be. This is why you didn't say
anything at dinner about what I
had done.

Manisha gets up and nervously paces the room. Finally, she
makes up her mind. She returns and sits on Kyle's bed.

MANISHA
OK, Kyle, we'll try it, but no one
is to know, not Trig, not Hauer,
not Sean, not even my husband, no
one.

Kyle, now beaming, bounces on the bed.

KYLE
Absolutely, Manisha, I won't tell
a soul, my lips are sealed!

EXT. HAROLD LLOYD PROPERTY - DAY

A large mansion is now partly framed on the lot. Maria's
uncle supervises a large crew of Mexican workers installing
landscaping. Maria and Kyle dig holes next to each other.

MARIA
No way, Kyle, you're full of crap.

61.

KYLE
SSHH! Keep your voice down.

Kyle looks out at the nearby workers. No one is listening to
them.

MARIA
No way you're doing her stunts, no
way. I don't care if she is having
a baby.

KYLE
I've already done two scenes and
no one has even noticed. All they
see is me in Manisha's leather
suit and hair. I put on a little
make up and they think it's her.

MARIA
What about the talk we had with
Nick last month. You were going to
tell your Dad, Kyle. You can't
keep doing this, you can't!

KYLE
There's only a few scenes left.

MARIA
(mad)
So if this is such a big secret,
why are you telling me about it
now, huh?

KYLE
Because I need your help with a
couple things, that's why.

Maria, stewing, doesn't answer right away.

KYLE
Please, Maria. Manisha asked if
you could bring in some of that
food your Mom makes. She's really
craving the spicy Mexican stuff.

MARIA
(still mad)
And what else, mister keep secrets
from his friends?

            KYLE
      (grins)
I need someone to distract Matt
Steinburg. He's been hanging
            (MORE)

62.

KYLE (cont'd)
around the shoot a lot since
school got out. I'm a little
worried he may be on to me.

Maria tries to stay mad, but fails. She joins Kyle in the
plotting.

            MARIA
Alright, I'll do it
      (punches Kyle in
       the arm, hard)
I least maybe HE will notice my
obvious charm and beauty!

Kyle rolls his eyes as he rubs his arm.

EXT. STUDIO LOT - DAY

Manisha walks up to her trailer and, after looking around,
goes inside. After a moment, Maria comes out followed by
Kyle in disguise. He gets in a golf cart and drives away
while Maria scans the area, then heads back into the
trailer.

KYLE (vo)
And so the best summer of my life
being a stunt kid, continues...

SERIES OF SHOTS

Kyle flips off the top of an elevated train into the bed of
a passing dump truck below as several officers race towards
him on top of the train cars.

Kyle leaps from a low flying helicopter into the back of a
speed boat and fights with the driver.

Kyle falls from a window in front of an explosion, bounces
off an awning and lands, feet first, on the street below.
After covertly adjusting his WIG and sunglasses over his
blue EYES, he runs down an alley.

KYLE (vo)
Everything goes great. Maria keeps
watch for any signs of trouble...

SERIES OF SHOTS

Maria intercepts Trig on his way to Manisha's trailer and
offers him some food.

63.

After Kyle, in disguise, leaves the trailer, Maria checks
that the coast is clear, then runs with Manisha to the
RESTROOM.

Maria finds Matt inspecting Manisha's wig and makeup. She
quickly grabs his hand, flirts and tries to lead him away.
After she whispers in his ear, he smiles and follows her.

KYLE (vo)
And my Dad is happier than I've
seen in a long time.

SERIES OF SHOTS

A doctor reviews an x-ray with Sean and Anton, nodding his
head as Anton and Sean both smile.

Anton horse plays with Kyle after calling cut on an interior
restaurant shoot. While the crew sets up for the next shot,
Maria brings over a huge steaming plate of burritos, which
Manisha attacks.

Manisha laughs and hugs Anton as he clowns around with a
machine gun prop.

Kyle and Anton race down the street with Sean in hot pursuit
in his Mach 1.

KYLE (vo)
Everything goes great until we
near the end of shooting the
action scenes. That's when Hauer
comes up with the new stunt he
wants added, then, things start
to get a little dicey.

EXT. STUDIO LOT-LATER - DAY

Hauer, with Matt standing behind him, sits at the head of a
large plywood table explaining the new stunt.

Surrounding the table listening intently are Trig, Manisha,
Anton, Ally and several technicians. Nick, Kyle and Maria
hang back, but well within earshot.

HAUER
This scene is a critical piece in
setting up the final action
sequence at the marina. Manisha is
finally trapped in a seedy bar.
After a fight scene, she is
cornered and knocked out.

64.

The group is on the edge of their seats, nodding along with
the plan. Maria and Kyle share uneasy glances.

HAUER
Her captures throw her handcuffed
and unconscious into the back of
their Jeep police car, then
proceed to get drunk at the bar.

ANTON
We could make it at dusk, throw in
some torches and loud music, add
to the exotic location.

HAUER
I like it. So then, Manisha wakes
up to find herself handcuffed to
this Jeep. At the same time, one
of the drunk guards comes out to
take a leak. While he's going in
the bushes, Manisha whispers him
over, kinda flirty like.

Hauer gets up and walks over behind Manisha. He's fired up.

HAUER
So, Manisha, being the spy she is,
head butts the guard, knocks him
out. Only problem is when she does
this, he falls on the horn. As she
struggles to get his keys, the
other guards come racing out. Just
as Manisha gets free and starts
the Jeep, they pull their guns and
start blazing away!

Hauer returns to the head of table, still standing.

HAUER
As she races across an open field,
she spots more guards in Jeeps
behind her on both side. Realizing
her only option is to continue
straight, she sees that the field
ends at a high cliff leading to
the crashing ocean below.

Hauer is really worked up.

HAUER
Just as she flies off the edge of
the cliff, a bullet trail starts
hitting towards the side mounted
gas tank. A split second before
(MORE)

65.

HAUER (cont'd)
the Jeep explodes, Manisha leaps
free and dives into the water.

ANTON
It's fantastic, I love it. Can we
do it, Trig. Can you rig the Jeep
for a remote explosion?

TRIG
I can. We'll need to break in down
in at least two or three shots.
The fight sequence, the race to
the cliff, then the actual fall
itself. Difficult, but it can be
done.

HAUER
No, no, no, I don't want three
shots. I want one, one shot, using
a camera dolly on a single track.
One shot, from her waking up, to
her hitting the water, that's what
I want.

Hauer looks at his team, then turns to leave.

HAUER
Well, that's it. Unless there's
any questions, lets get to it.

As Hauer walks away, Matt throws a sly grin at a frozen Kyle
and Maria. He again slowly points two fingers at his eyes,
then points with both hands at Kyle and Maria.

As Kyle burns Matt with his own stare, Matt laughs and turns
to follow his father.

INT. MANISHA'S TRAILER - DAY

Kyle paces the floor while Manisha and Maria lounge next to
each other on the couch. Both women have matching white
sleeveless tank tops on and shorts. On the table next to the
couch are several steaming dishes of Mexican food.

MARIA
I think your starting to show,
Manisha.

Maria pokes Manisha in her little belly. They both laugh.

66.

MANISHA
You better start eating, Kyle, if
you want to keep looking like me.

KYLE
How can you two be so calm. We've
got to figure out a way to pull
off Hauer's big stunt!

MANISHA
You will figure it out, you always
do.

KYLE
At least we have a couple weeks
while Trig gets the site prepped.

MARIA
Do you think Matt's onto us?

As she says this, Maria and Manisha continue to horse
around, both sticking out and sucking in their stomachs.
Kyle just shakes his head.

KYLE
You saw him same as me. He
definitely suspects something. I
wouldn't be surprised if that one
shot idea was his.

Now the girls are circling their stomachs with their
fingers.

KYLE
Will you two stop that!

The girls bust out laughing.

            MARIA
      (and Manisha
       together)
Sorry.

Both sit up and feign a serious posture. Kyle huffs his
exasperation with them.

KYLE
I'll bet you he'll be all over
that stunt when we shoot it,
trying to see if Manisha's doing
it.

Manisha looks down at her small breasts.

67.

MANISHA
I'm starting to get boobs. I never
had boobs before.

Now Manisha and Maria start pushing out and pulling in their
chests together.

KYLE
I've got to talk to someone on how
we can out think Matt, someone
with a mind for deception, someone
who knows how to pull a scam.

Kyle stops pacing, as if he has a thought. The girls stop
their posing and watch him.

KYLE
(slight grin)
And know exactly where to find
just such a person.

Kyle heads toward the door.

EXT. MANISHA'S TRAILER - DAY

Nick sits on top of the picnic table outside the trailer.
After looking around to be sure the coast is clear, he picks
his nose, smells the contents, then eats it.

As he shoves his finger deep in the other nostril for a
second helping, Kyle throws open the door from the trailer.
With Nick frozen in mid pick, Kyle smiles and signals him
in.

INT. MANISHA'S TRAILER - DAY

Nick follows Kyle into the trailer. While Kyle continues in,
Nick stops and stares wide eyed at Maria and Manisha, in
front of a large mirror, pushing out and pulling in their
chests.

NICK
What the hell?

KYLE
Nick, eyes up front! We need your
help.

68.

INT. ANTON'S TRAILER - DAY

Anton stands eating a plate of Mexican while he scans the
storyboards for the cliff stunt. Maria and Kyle chow down at
the dining area table.

ANTON
I still can't get over how great
your mother's food is, Maria. Now
I know why Manisha looks like
she's putting on a few pounds.

Anton laughs at his own joke before taking another bite. At
the table, Kyle chokes as Maria shoots him a look of panic.

ANTON
You OK, Kyle?

            KYLE
      (catches his
       breath)
Uh, yeah, fine, Dad, just took a
big bite.

MARIA
(quickly)
So, how's the stunt coming
together, Mr. LeForce?

Anton walks over next to the kids.

ANTON
Good, real good. Should be our
most exciting yet. Manisha better
be on her toes, though. Always the
unknown when you go on location
for a shoot.

MARIA
Are you, you know, worried about
the scene?

ANTON
(smiles at Maria)
Of course not, everything should
be fine, don't worry. Trig will
have everything as safe as humanly
possible.

Anton looks down at the two kids.

69.

ANTON
I sure am glad to have had you two
around this summer. This movie has
become the biggest thing in town.

Anton takes a big breath and looks around the trailer at all
the storyboards, paperwork, scripts and people moving around
outside the windows.

ANTON
And both of you and Nick have
really made it a special time for
me, so thank you, I mean it, thank
you for being here every day for
me.

Kyle gets up and hugs his stressed out Dad, while Maria,
concern on her face, looks on.

INT. SEAN'S CAR - DAY

Sean drives while Kyle takes in the views of the California
coastline. Maria takes up the back seat.

SEAN
(teasing Kyle)
So you think because I'm a broken
down old man, I can't at least
watch the stunts anymore.

KYLE
That's not what I said!

MARIA
Yes it is.

Sean smiles at Maria in his rear view mirror.

SEAN
See.

KYLE
All I said was I didn't know you
were still INTERESTED in the movie
business, that's all.

SEAN
I love the movies, always have.
Just because I can't fall 200 feet
off a building anymore doesn't
mean I stopped loving the action.
Besides...

70.

Sean punches the gas PEDAL, sending the car rocketing up the
coast passed several slower cars.

SEAN
...no one ever said I still
couldn't be a stunt driver!

INT. SEAN'S CAR-LATER - DAY

The road reaches a plateau which opens up onto a large
valley below. In the distance, several semi trucks and vans
sit parked around a make shift cantina. A huge grass field
leads from the cantina to a cliff dropping to the ocean
below.

SEAN
Wow, Hauer has really out done
himself on this one.

Kyle takes in the scene while Maria strains to see from the
back.

KYLE
There's the rescue boat down in
the water.

Kyle points to a large BOAT floating at the base of the
cliff in the ocean.

SEAN
That's where I'll be. Trig set it
up.

KYLE
(surprised)
Really?

            SEAN
Yeah.
      (point to the
       dolly TRACKS)
Look at that. You can barely see
the dolly cam tracks in that tall
grass.

Several technicians work rolling the dolly cam on the track,
which leads from the cantina to the cliff.

            MARIA
      (concerned)
I can't believe. ..uh ...anyone
can actually leap off that cliff
with a Jeep exploding next to
            (MORE)

71.

MARIA (cont'd)
them.

            KYLE
      (excited)
Oh, it can be done. Trig says the
actual fall is about 70 feet.
Should be no problem.
      (nudges Sean)
Come on, brother, let's get on
down there.

EXT. MANISHA'S TRAILER-CLIFF LOCATION - DAY

Several technicians and Ally work putting a brace around
Manisha's back. After the brace is secure, she puts on her
leather jacket, wig and large glasses.

Standing over by the ram-shackled cantina, a group of MEN
dressed as Mexican police mingle around.

While Maria and Kyle lean against Manisha's trailer taking
in the scene, NICK emerges from the group of Mexican police
and heads over towards them.

NICK
We're all set. It's amazing what a
couple hundred bucks buys these
days.

MARIA
You really think this will work,
I'm worried about you, Kyle.

KYLE
It'll be fine. Trig has everything
set up.

Kyle smiles at Maria.

KYLE
Relax, Maria, it's a piece of
cake!

Back at the cantina, Anton arrives and starts directing
people into position. Nick notices.

NICK
It's time to go, Kyle. We need to
get in position.

72.

Nick starts to walk towards the cantina with Kyle in tow.
Before he gets two steps, Maria grabs Kyle and gives him a
big hug.

Shocked, Kyle hesitates, then hugs her back. Nick grins at
the exchange, then keeps on walking.

EXT. CANTINA - DAY

Nick and Kyle stand around the back of the cantina watching
the extras take their marks. Several yards away, they see
Maria knock on the prop trailer door.

After a moment, the door is opened by a large middle age
WOMAN. Maria points to a table set up over by Manisha's
trailer covered with FOOD. The woman smiles and follows
Maria over to the table.

NICK
OK, that's it. Get going.

Kyle quickly walks towards the prop trailer and ducks
inside. Nick waits impatiently as he watches the Mexican
police start to load into the various vehicles that will be
part of the shot.

Finally, Kyle exits the trailer with a black garment bag
over his shoulder. Relieved, Nick turns and heads over to
talk to some of the police extras in the waiting Jeeps and
pick up trucks.

Kyle hustles towards the back of the cantina again, when out
of nowhere, Matt cuts him off.

MATT
What's the hurry, Kyle.

KYLE
Just helping out with some
costumes.

Kyle tries to get around Matt, but keeps getting cut off.

MATT
I know what's going on here, Kyle,
and I'm going to stop it.

KYLE
What are you talking about?

73.

MATT
I'll bet you a thousand dollars
you've got a black leather suit in
there. Maybe a black wig too. Am I
right, LeForce?

KYLE
Fine, a thousand dollars. Now get
out of my way.

Kyle pushes by Matt and continues on to the back of the
cantina. A split second later, Matt open field tackles him
from behind, knocking him to the ground.

Before Kyle knows what's happening, Matt rips open the
garment bag. Hanging inside is a UNIFORM for the Mexican
police that matches the ones worn by the extras.

Matt, surprised there is no leather suit, throws the bag
back at Kyle and storms off.

MATT
I'll be watching you all day,
LeForce, all day!

Kyle hops up, grabs the uniform and make his way through a
door in the back of the cantina.

EXT. CANTINA-LATER SAME DAY - DAY

Everyone is set for the shot. Anton hovers overhead in his
boom chair. Ally talks into her head set. Several
technicians and gaffers clear the set and back behind the
cameras and equipment.

Kyle has returned and stands off to one side near the
cantina. Matt watches him from the far side of the camera
boom.

ALLY
(to Anton)
Ready when you are, boss.

ANTON
OK, here we go. Action!

A lone motorcycle crests the hill on the horizon and follows
the deserted road to the dusty cantina. The leather clad
rider,

Manisha, in character, stops the bike and scans the area.

74.

Satisfied the coast is clear, she pulls a satellite phone
from her pocket.

            MANISHA
      (in character, on
       the phone)
I've found a spot to wait and
rest. In two days time, I'll cross
the border to complete my final
assignment.

Manisha eyes a lone HAWK circling above.

MANISHA
(on the phone)
Has the target's destination been
finalized? Good, I'll wait for
confirmation. Shanti out.

Manisha climbs off the motorcycle and walks towards the
weathered front door of the cantina. A small SIGN tacked on
the door reads "Habitaciones de alquiler". Underneath is
scrawled "Rooms."

Before she goes in, her phone CHIRPS. She pulls the phone
from her pocket and reads the SCREEN, "Continental Hotel and
Marina, Room 611." She pockets the device and goes inside.

Anton watches his monitor SCREEN as Manisha enters the bar.
The scene continues inside.

INT. CANTINA - DAY

Manisha, from behind her trademark large black sunglasses
checks out the empty bar. A middle age Mexican bartender
watches soccer on a blurry screen.

Seeing his customer, he straightens up and tries to smooth
his greasy hair. Manisha walks over and takes a seat at the
bar.

BARTENDER
(in Spanish)
What can I get you, pretty lady?

MANISHA
(in English)
Vodka martini.

BARTENDER
(in broken English)
Shaken or stirred?

75.

The man flashes his crooked yellow teeth at his own joke.
Manisha give him a blank stare. The man wilts and goes about
making the drink.

MANISHA
I'll need a room too, and total
privacy, comprende?

The man returns and slops a martini down in front of
Manisha. She takes a sip, then removes her sunglasses. The
bartender, busy trying to clean up, steals a look at Manisha
while she tries to watch the soccer game. Panic crosses his
face.

BARTENDER
(broken English)
Let me check room. One moment,
please.

Manisha watches the man scurry through a pair of swinging
doors to a back office.

BACK OFFICE

While peeking around the corner at Manisha, the bartender
punches out a number on a filthy desk telephone. As he
whispers into the receiver, he returns his gaze to a "Wanted
Dead or Alive" fax sitting on his desk. "FBI" covers the top
of the page and a clear picture of Manisha takes up the
balance of the notice.

EXT. CANTINA - DAY

Outside, with Anton giving the keep rolling signal with his
finger, several police vehicles crest the same hill used by
Manisha. With lights flashing, but no sirens, they circle
the cantina in a cloud of dust.

An aging Jeep CJ-7, top off, parks in front of the tavern.
As the other armed Mexican police officers/extras dismount
and surround the building, the driver and passenger in the
Jeep hop out and go inside.

The senior cigar smoking OFFICER remains in the back seat of
the Jeep.

INT. CANTINA - DAY

The sweating bartender returns from the back room and shares
a nervous smile with Manisha.

76.

MANISHA
What took you so long?

BARTENDER
Room very dirty. Still cleaning
up. Ready soon.

The bartender turns to leave again when they both hear a car
door SLAM from outside. Manisha casts a look back at the
frightened bartender.

Instantly she leaps up and over the bar, pulling a gun from
her jacket. Before he can react, she twists the man's arm
behind his back and slams his head into the bar. The gun at
his ear.

MANISHA
Tell me who's out there.

BARTENDER
I no understand!

Manisha wrenches his arm more while pushing the gun into his
eye.

MANISHA
Tell me or die. You understand
that?

The man hesitates only a moment.

BARTENDER
Federalies, policia, policia!

The front door cracks an inch. Manisha quickly knocks the
bartender unconscious with her gun and jumps back over the
bar. At the same time, the two policemen from the Jeep rush
in the room.

Manisha shoots both of them in the FEET and leaps over the
still falling SCREAMING lawmen. Rushing outside with guns
raised, she stops dead in her tracks.

EXT. CANTINA - DAY

Outside, Manisha freezes as she is surrounded by a dozen men
in a semi-circle, all with weapons aimed straight at her.

As the guards part, the senior officer, grinning under his
policeman's cap, slowly walks up and takes the pistols from
Manisha. As she glares at the man, he takes one of the guns
and punches her right in the face, knocking her out cold.

77.

Two more policemen quickly move in and throw her into the
parked Jeep, handcuffing her to the steering wheel.

ANTON
And cut! Great job, everyone. Now,
we've got two hours to get ready
for the next scene, so let's get
to it.

Everyone claps and starts talking at once. Manisha sits up
in the Jeep and pulls the fake handcuff off. Kyle smiles and
runs over to congratulate her. Matt also wanders over to the
Jeep.

KYLE
Great work, Manisha. I can't wait
to see you go over that cliff.

Manisha climbs out of the Jeep and dusts off. She notices
Matt hovering behind Kyle.

MANISHA
It should be very exciting to say
the least. Don't you think, Mr.
Matt?

Matt walks over to the passenger side of the Jeep, as if
he's inspecting it.

MATT
I'm sure it will be spectacular
...for whoever DOES go through
with the stunt.

MANISHA
I'm not sure I understand your
meaning, Matt?

Matt, seemingly satisfied with his Jeep inspection, starts
walking back towards the trailers.

MATT
I'm sure you don't. Good luck, Ms.
Basu.

Manisha and Kyle share a look of concern as they watch Matt
retreat.

78.

EXT. CANTINA-EARLY EVENING - DAY

A bright sun sits low in the late afternoon sky. Aging
torches blaze outside the bar. Anton and crew are back in
their positions along with Manisha in the Jeep, handcuffed
to the steering wheel.

The dolly cam has been positioned on it's track several feet
from the drivers side of the Jeep. Ally talks into a walkie
talkie. A helicopter hovers near the edge of the cliff.

Kyle is back at his position next to the corner of the
cantina. Matt is also back, standing next to an equipment
cart.

ALLY
The copter cam's rolling and the
boat is in place. Trig is a go on
the Jeep rigging. We are set to
roll.

ANTON
Lets be on our toes, folks. We're
only going to get one shot at
this. Manisha, are you ready?

MANISHA
Yes, Mr. Director.

Anton smiles at her standard answer.

ANTON
Wonderful. Ready, action!

INT. CANTINA-EARLY EVENING - DAY

The police, laughing and singing, toast each other for the
successful capture of Manisha. Beer and tequila flow.

EXT. CANTINA-EARLY EVENING - DAY

From inside the cantina, loud VOICES carry out in the
approaching night. Manisha, back in character, stirs from
her unconscious state and slowly sits up.

Noticing the handcuffs, she violently tries to break free.
After several attempts, she stops and looks towards the
cantina. As dusk settles over the area, the tavern door
opens spilling out the NOISE from inside.

Staggering out, a Mexican policeman, complete with cap and

79.

untucked shirt, wanders over to a nearby bush and start to
relieve himself. As he shakes off the final drops, Manisha
tries to get his attention.

MANISHA
Captain. Capitan?

The cop turns and stares at her from behind Manisha's own
sunglasses. Shadows and a large black mustache obscures his
face.

MANISHA
I need to go to the ladies room,
please I have to go. understand?
Banos?

The cop weaves over and gives Manisha a lusty grin.

MANISHA
(flirty)
I make nice if you help me. Just
for a minute.

Manisha seductively licks her lips and tugs on the zipper of
her jacket. She hold out her handcuffs.

MANISHA
Please.

After a quick look back at the cantina, the cop steps
forward and pulls a set of keys from his pocket. Fumbling
with them, he finds the correct one and unlocks the
handcuffs.

Manisha playfully rubs her hair against the mans cheek. As
he looks up, she smiles and moves her head forward again.
The man cracks his own crooked smile in response.

As he moves in for a kiss, Manisha bows her head slightly,
then slams forward, shattering his nose in a bloody
explosion. The guard, wide eyed, dead, falls forward over
Manisha, pinning her in the drivers seat.

As she struggles to push the man off her onto the floor
between the front seats, his foot lands on the Jeep horn. A
loud HONK fills the night.

While she continues to try and move the man out of the way,
the horn continues to blare. Panicked, she finishes moving
him to the back of the Jeep and grabs his key ring. Just as
she gets the Jeep started, another policeman opens the
cantina door.

80.

Spotting her, he yells inside for help. As Manisha tears out
across the grassy field fronting the cantina, the dozen cops
spill out of the cantina and mount their own vehicles. The
chase is on.

Manisha smashes the gas PEDAL to the floor as the Jeep flies
along through the grass. Behind her, the cops have fanned
out in pursuit, machine guns blazing. Manisha weaves back
and forth as the Jeep bounces up and down over the uneven
ground.

MANISHA
Hurry up, Kyle, we're 30 seconds
out!

The guard on the floor stirs and looks up at Manisha as she
steers the Jeep. Bullet trails cut across the back nearly
missing a small gas can.

Keeping his head hidden, Kyle rips off the mustache and cap
and pulls off the breakaway uniform. Underneath the clothes,
he has on an exact matching leather outfit to Manisha's.

After bundling the police uniform up with the cap, he slides
open a small escape door in the floor of the Jeep. Seeing
the grass below, he tosses the bundle into the grass.

At the same time Manisha hits a slight slope and is airborne
for a moment. Kyle hangs on to the bottom of the seat. Just
as they hit ground again the windshield explodes. The cops
continue to blaze away.

MANISHA
(yelling)
Where's your wig, Kyle, your wig?!

Kyle frantically looks around, finally spotting his wig
shoved under Manisha's seat.

MANISHA
Ten seconds! Ready?

Kyle thrusts on the wig and pulls black sunglasses from his
pocket.

KYLE
Ready!

Manisha jerks sharply on the wheel, sending the Jeep quickly
ahead and away from the dolly cam. A bullet trail races
across the back of the Jeep and hits the small gas tank. A
large fire ball erupts from the back of the Jeep.

81.

MANISHA
NOW!

With the Jeep hidden in the fire ball, Manisha rolls out of
the drivers seat onto the floor. Kyle leaps over her and
assumes the driving, swinging the Jeep back towards the
dolly cam.

MANISHA
Good luck, Mr. Kyle. Adios.

With the cliff in site, Manisha disappears through the trap
door into the tall grass. A split second later, an PRG fired
from a trailing police car screams through the air towards
Kyle.

Racing at top speed, the Jeep launches off the top of the
cliff, arcing slightly up and out over the ocean. As the
grenade zero's in, Kyle leaps clear of the falling Jeep just
as the grenade makes impact.

A huge fireball lights up the evening sky as Kyle follows
the flaming hulk to the dark water below.

Anton waves his hands, urging his crew to lower him from his
boom.

ANTON
Cut, cut, cut! Fantastic,
fantastic!

Antons boom chair returns to the ground as the entire cast
and crew sprint towards the cliffs edge. Matt races too,
eyeing each of the Mexican policeman extras until they all
reach the cliff's edge.

EXT. RESCUE BOAT - NIGHT

With the sun a sliver on the ocean horizon, Trig pilots the
large open bow speed boat, while Sean works a large
SPOTLIGHT over the water.

SEAN
Manisha! Manisha! Are you there?
Manisha!

Fifty yards out, a head breaks from the water. Trig spots it
first.

TRIG
There, there!

82.

Sean follows Trig's pointing finger and moves the light out
further from the boat. Lighting the bobbing head, Sean spots
Kyle waving his arm. Trig guns the motor and moves in for a
pick up.

Trig slows the boat as they near Kyle. Still wearing the now
drenched wig, Kyle's face is covered by the long wet hair.
Reaching out, Sean hauls him aboard and throws a large
hooded robe over him. Kyle shivers violently under the
cover.

SEAN
Manisha ...Jesus ...Manisha, talk
to me!

With Trig looking on from the wheel, Sean kneels down and
pulls the hood off Kyle. Finding nothing but hair, Sean
grabs the wig and pulls it off. Kyle faces away from Sean.

            SEAN
      (shakes Kyle's
       shoulders)
Manisha, please, look at me. Are
you all right?

With both men looking on, Kyle slowly turns towards them.
Make up streaks cover his trembling face. Fear fills his
eyes. Both men GASP in shock.

SEAN
Oh my God, it's Kyle.

EXT. CLIFF EDGE - NIGHT

The crowd erupts in applause when they see Kyle pulled from
the water. Cries of "Fantastic", "Viva Manisha" fill the
air. Matt, frustration on his FACE, turns and leaves the
adoring group, walking back towards the cantina.

Several hundred yards away, barely visible in the shadows,
MANISHA makes her way down a narrow trail towards the water
below.

INT. SEAN'S CAR - NIGHT

Sean drives while Kyle slumps in the passenger seat.

SEAN
(angry)
Do you have any idea how much
trouble you're in?

83.

KYLE
I...

SEAN
Do you have an idea what could
have happened to you?

KYLE
Well...

SEAN
And what the hell would I tell Mom
when you come home in a box? Huh?

KYLE
Sean, if you'd just let me
explain.

SEAN
Explain, explain, are you kidding
me? It was all I could do to calm
down Trig. He was ready to have
you arrested!

KYLE
Just hear me out, Sean, please.
I've got to tell you what's going
on.

Sean scowls as he speeds toward the lights of Los Angeles.

INT. MEL'S DINER - NIGHT

Kyle sucks on a huge milkshake while a waitress clears their
dirty dishes. Sean fingers a coffee cup until she leaves.

SEAN
I'm so confused now, I don't know
what to think?

KYLE
You've got to let me finish this,
Sean. There's only one scene left.

SEAN
You tell me Mom and Dad are broke,
because of me. You tell me
Manisha's pregnant and can't do
the big stunts anymore.

84.

KYLE
Don' forget about Matt Steinburg
sniffing around.

SEAN
And you've got Maria and Nick
involved?

KYLE
Maria and Manisha have become
really close.

SEAN
I do understand about keeping this
a secret. Manisha's whole career
has been built on her performing
her own stunts. You know Hollywood
as well as I do. If Trig brought
in professionals, the whole town
would know she's a fake by night
fall.

KYLE
And I haven't done ALL the stunts,
just the stuff in the last month
or so.

Sean sits in silence, digesting Kyles revelations. Kyle eyes
him over the top of his shake.

INT. LEFORCE MANSION - DAY

The door bell CHIMES throughout the house. Tasha crosses
from the kitchen and answers the door. Matt Steinburg greets
her with his best Eddie Haskell smile.

TASHA
Well, isn't this a surprise. Good
morning, Matt. We certainly
haven't see you around here in a
long time.

MATT
Good morning, Mrs. LeForce. You
look very nice today. I was hoping
that Kyle was home.

Tasha ignores the fake flattery and motions for Matt to come
in.

TASHA
Is he expecting you?

85.

MATT
(smiling)
I'm sure he'll be interested in
what I have to say.

TASHA
I'm sure. Follow me.

Tasha leads Matt across the entry and up the stairs to
Kyle's open bedroom door. She quietly knocks.

TASHA
Kyle, honey, you have a visitor
here.

KYLE (os)
Send them in, Mom. Thanks.

Tasha nods towards Kyles door and retreats back down the
stairs. Matt goes in and shuts the door.

INT. KYLE'S ROOM - DAY

Kyle sits on his bed as Matt slowly walks around the room,
checking out the various pictures and posters. He pauses at
a framed PICTURE of two young boys arm in arm.

MATT
Amazing we actually used to be
friends, isn't it?

Matt moves on and takes a seat at Kyles desk.

KYLE
What you want, Matt?

MATT
It wasn't always like this between
us, Kyle. We didn't always hate
each other.

KYLE
You're the one that decided to
become a first class jerk, Matt.
Right after our Dad's partnership
broke up.

MATT
You mean after your Dad made my
Dad an outcast in this town, is
that what you mean?

86.

KYLE
That's crap and you know it. I
know about the stunt with Sean,
Matt, everyone does. Your cheap
ass Dad wanted the shot at all
cost. And because of that, Sean
will be limping the rest of his
life.

MATT
I don't know if you've been paying
any attention, Kyle, but my Dad
suffered just as much as yours.
He's learned from his mistakes.
He's not going to let ANYONE get
hurt on one of his movies again,
especially another LeForce.

Kyle gets off the bed and brushes past Matt.

KYLE
I think it's time you get the hell
out of here.

MATT
Kyle, wait. I need to show you
something.

Matt pulls a DVD out of his jacket pocket and taps on Kyles
computer. Kyle stops, then slowly returns to his bed.

INT. KYLES ROOM-LATER - DAY

Kyle sits riveted to the computer SCREEN. In black and
white, the DVD plays a shot from the Jeep gag, clearly
showing Kyle pulling off the mustache and uniform and
putting on the wig.

Matt stands in corner of the room watching Kyle's reaction.
After a moment, the screen goes blank.

MATT
(to Kyles back)
I don't know exactly whats going
on here, Kyle. But what I do know
is you have to stop, if you don't,
I'll take this to my father. The
movie will be shut down and your
Dad will be finished. Manisha's
got to her own stunts, or at least
let stunt men do the job.

87.

KYLE
You don't understand. If Manisha
uses stunt doubles, the movie will
never sell. Her fans will never
see it and your Dad will be just
as ruined as mine.

MATT
That's only the half of it. You
know when the studio came up with
all that extra money for the
bigger stunts.

KYLE
Yeah.

MATT
It wasn't the studios money, Kyle,
it was my Dads. He's put
everything he's got into this
movie, everything. I just can't
let you risk it by continuing as
Manisha's double. Not if it means
the movie might never be finished.

Kyle sits stunned.

            MATT
      (sits back down at
       the desk)
Look, there's something else too.
I've seen the storyboards for the
finale. It's the most dangerous
thing my Dad's ever come up with.
Kyle, as good as you are, and your
pretty damn good, you could get
killed.

Kyle shoots Matt a frightened look.

MATT
I'm not kidding. I wish I was.
There's stuff in there you've
never done, ever. And with the
shot set for next week, even
Manisha herself couldn't get you
ready in time.

Matt gets up to leave.

MATT
I really think people will accept
that Manisha used stunt people to
do the crazy stuff, I really do,
(MORE)

88.

MATT (cont'd)
and I can't let you risk my Dad's
entire life so you and Manisha can
continue with whatever it is
you're doing.

Matt moves to the door and grabs the handle.

MATT
Keep the disk, Kyle, I've got
copies. But you better make your
decision, and fast.

Matt opens the door and is gone. Kyle walks over and takes
the DVD out of the computer. As he fingers the disk, he
slowly nods his head, coming to a decision.

EXT. MARINA HOTEL PARKING LOT - DAY

Cast and crew trailers sit in a circle in a large parking
lot that backs to the six story Continental Hotel. Several
picnic tables fill the space in the middle of the circle.
Kyle, Maria, Sean and Trig huddle at a table next to
Manisha's trailer.

KYLE
What are saying, Maria? How can
this happen?

MARIA
My mom lost her bookkeeping job,
Kyle. We have to move again. She
thinks my aunt can get her on
doing either accounting or at
least cooking at a restaurant in
Bakersfield.

KYLE
(upset)
Bakersfield?

MARIA
(unconvincing)
It's not that far. We can still
see each other once and a while.

SEAN
Uh, I hate break up this little,
uh, break up, but when are you
going to let us in on your so
called, brilliant plan, to get out
of this mess?

89.

TRIG
Kyle, I need to know, NOW, what
you want to do. I've got two of
Hollywood's best female stunt
performers ready to go if Manisha
can't. Do you understand?

Kyle gets up and starts pacing, stealing glances at a large
trailer on the far side of the circle with a "Hauer
Steinburg" NAMEPLATE on the door.

KYLE
I understand, Trig. Please, just
give me another minute.

TRIG
Kyle?

Kyle continues to pace and stare at Hauer's trailer.

KYLE
Please, just one more minute,
Trig!

Suddenly, the door to Hauer's trailer opens and Nick
emerges. Kyle immediately runs over to meet Nick as he walks
towards the group. The two huddle in conversation as Trig
waits impatiently. Finishing their talk, then turn and walk
back to Trig.

KYLE
Trig, Nick and I need to talk to
YOU, now. I think we're in
business.

TRIG
Fine, walk with me. We need to get
this circus underway.

INT. MANISHA'S TRAILER - DAY

Kyle and Manisha sit at a small dressing table. Both stare
intently into a large mirror applying makeup.
Simultaneously, they put on their wigs and sunglasses.
Satisfied, they high five each other, stand and put on their
matching leather jackets.

KYLE
This is it, Manisha, final scene.
Are you ready?

90.

MANISHA
(smiles)
Yes, Mr. Kyle. Are you?

KYLE
I think so. I studied the
storyboards Trig showed me. I'm a
little worried about some of the
stuff I've never actually done
before.

MANISHA
As am I, Kyle. And because of
that, I've asked Trig to make some
slight alterations to Mr.
Steinburg's plans.

KYLE
Is he changing some of the stunts?

MANISHA
Not the stunts, exactly...

Manisha walks over and opens the trailer door.

MANISHA
...more like the performers.

With Kyle staring in awe, Maria climbs in the trailer,
dressed exactly like Manisha. Following her, Sean, Nick and
finally Matt, all dressed in black leather, wigs, make up
and sunglasses.

Manisha grins at the stunned Kyle. Trig comes in last,
closing the door behind him.

INT. MANISHA'S TRAILER-LATER - DAY

Trig addresses the seated group.

TRIG
As crazy as it sounds, I think
Nick's plan will work, for
everyone.

MATT
I couldn't believe my Dad when I
showed him the video of Kyle doing
the cliff stunt. He didn't even
care. He actually said Kyle was
doing a pretty good job! Said he
felt his investment was safe with
Kyle. When I heard that, I had to
(MORE)

91.

MATT (cont'd)
be part of this...
(smiles at Kyle)
...no way Kyle can pull this off
by himself.

KYLE
You can thank Nick for your Dad's
response, Matt.

NICK
And Trig. Without his buy off, the
plan would never work.

TRIG
Nothings worked yet. Come on
everyone, let's get this thing
done and in the can.

Everyone nervously looks around the room at each other.

TRIG
(claps his hands)
Well, don't just sit there, lets
go!

With Trig leading the way, the matching Manisha's stream out
of the trailer.

INT. HELICOPTER - DAY

Anton circles the area from a large helicopter. With the
cargo door open, he sits next to a floor mounted camera and
several video screens, taking in the entire MARINA and
HOTEL. Below, extras and numerous vessels stand idle
waiting for the action cue.

            ANTON
      (into headset
       microphone)
Ally, status wharf side?

            ALLY (os)
      (into Anton's
       headset)
Ready to move, boss, interiors set
too, on your signal.

            ANTON
      (into headset
       microphone)
Very good, Trig, waterside?

92.

            TRIG (os)
      (into Anton's
       headset)
Calm seas and a light chop inside
the reef.

Anton chuckles at his old friends retort.

ANTON
Very good. Here we go. Ally, put
them in motion. Trig, start your
patrol. OK, everyone, action!

EXT. MOVIE SETS AND SCENE-INTERNATIONAL JUSTICE - DAY

SKI DOO RENTAL SHOP

A toothless, old man leans against a weathered counter
watching a small T.V. The Continental HOTEL appears visible
on the horizon down the beach.

            TV ANNOUNCER
      (on the screen,
       mid report)
...our sources have confirmed that
early this morning, at the
Continental Hotel, federal agents
arrived with the prime witness in
the United State's case against
international drug king, Raul
Costra. Military and federal law
enforcement personnel have formed
a ring of security around the huge
complex until the witness
testifies in open court tomorrow
morning. As to unconfirmed reports
that international assassin,
Shanti Ra has been contracted to
perform a hit on the witness,
authorities had no comment.

When the man looks up, he's startled by Manisha, in
character, staring at the screen. He puts on the charm.

SHOP GUY
Good morning, need a rental today?

The man points out to several Ski Doo's bobbing in the
water.

MANISHA
The green one, on the left.

93.

SHOP GUY
Of course.

The man pulls a key out from below the counter and places it
in front of Manisha.

SHOP GUY
Just need to get a little
paperwork out of the way. So, I.D.
please.

MANISHA
Of course.

While the man organizes his documents, Manisha reaches into
her jacket, pulls out a 9 millimeter and shoots him in the
chest. The man crumbles to the floor out of sight behind the
counter.

She quickly grabs the key, flips the Open SIGN to Closed and
walks towards the Ski Doo.

CONTINENTAL HOTEL AND MARINA

The six story Continental Hotel glistens fronting the
marina. A wide boardwalk fills the space between the hotel's
bottom floor shops and the water. The board walk extends
past the end of the hotel and turns into a long pier leading
to a boat ramp. Next to the ramp is a large boat repair
shop.

Swarms of military and police boats crisscross the bay in
front of the yacht filled marina.

At the same time, tourists and shoppers stroll the boardwalk
enjoying the sunny day. On the hotel roof, SHARPSHOOTERS
scan the crowds through scopes on their high powered rifles.

BAY

Manisha skims across the bay on the SKI DOO. Two MACH 10
MACHINE PISTOLS fill holsters under her arms. Additional
HANDGUNS are strapped to her leather clad legs. A belt
around her jacket holds several GRENADES.

Ahead, she spots the Military patrol BOATS and Harbor Patrol
BOATS slowly cruising several hundred yards out from the
marina complex. Timing her approach, she quickly hits the
ACCELERATOR on the Ski Doo as two boats cross, heading in
opposite directions.

MILITARY BOAT

94.
Two WATCHMEN using binoculars scan the open bay. Several small sailboats and Ski Doo's cross the horizon tacking and running circles. As the men relax, drink coffee and smoke, Manisha bolts from the crowd of boats at top speed, heading straight for their patrol boat. While the men scramble to get to their mounted machine GUNS, Manisha races towards the hotel.

SKI DOO

Speeding past the patrol boat, Manisha pulls a GRENADE from her belt and tosses it onto the back of the boat. Just as the men reach their guns, KABOOM!, the boat explodes into a huge fire ball. Manisha continues her run towards the far away hotel.

BOARDWALK

Crowds of tourist's shop and lunch at the outdoor cafes along the boardwalk. Suddenly, a huge BOOM and FIREBALL erupts from out beyond the marina. Panicked, the crowds freeze, point and run to the edge of the walkway to get a better look. Far out among the boat traffic, a lone figure on a Ski Doo emerges, speeding straight for the marina. Behind the Ski Doo, several harbor patrols and military boats are turning to take up the chase.

MARINA

On the dock below the boardwalk, several uniformed officer's leap onto waiting Ski Doo's and BUZZ out towards the threat.

SKI DOO

Manisha races forward, dodging several pleasure craft. The hotel several hundred yards off. Behind her the CHAIN GUN on the harbor patrol BOAT sprays a line of bullets across her bow. Spotting the oncoming SKI DOO's, she cut sharply to the right, heading towards a large Cigarette BOAT.

CIGARETTE BOAT

A cheesy overweight middle age man emerges from the forward cabin. Balancing a tray of champagne flutes against his huge gut, he flashes a toothy grin at a young woman lounging on the rear platform. The sexy bikini clad lady grins back,

95.
stroking her stomach with her finger until the WHINE of Manisha's Ski Doo draws her attention past her suitor.

SKI DOO

As Manisha sprints towards the Cigarette boat, a new volley of machine gun fire smashes her mirror and punctures her gas tank. At top speed, she turns her ride sharply to the left, launching a huge wave of water over the Cigarette boat, tossing the man and woman overboard. Leaping on top of the stopped Ski Doo, she jumps into the boat as another round of bullets strike the doomed personal watercraft. As she guns the ACCELERATOR on the Cigarette boat, the Ski Doo explodes, showering the water with flaming debris.

POLICE SKI DOO'S

The Ski Doo's fan out from a single file line. Each officer open fires from mounted machine GUNS at the approaching Cigarette boat. Ahead, her WINDSHIELD explodes as Manisha takes evasive action.

HARBOR PATROL

The harbor patrol boat closes in on Manisha as the chain GUNS blaze away. Manisha continues to weave the Cigarette boat, cutting off the patrol boats view of the approaching police on the Ski Doo's.

CIGARETTE BOAT

Manisha continues her race towards the Ski Doo's. Ahead, she spot an OFFICER on a Ski Doo slow to raise his RPG. Checking her rear view MIRROR, she spots the chain GUN blazing on the patrol boat, until her MIRROR shatters. The officer launches his rocket propelled grenade. As the grenade speeds toward Manisha, she cuts her boat sharply to the right. A split second later the grenade flies past, striking the patrol boat. BOOM! The boat explodes. The officers on the Ski Doo's, momentarily stunned by the explosion on the patrol boat, slow their assault and close ranks. Manisha again guns her boat, heading straight for the officers. Before they can get their guns going, she smashes

96.
her large bow into the Ski Doo's, smashing them to bits as the officers dive for cover.

HELICOPTER

High above the bay, an Apache attack copter screams over the scene. Below, pleasure boats scramble to clear the way for the speeding Cigarette boat. Right behind Manisha, a dozen patrol boats and military craft follow in hot pursuit. Bullets and PRG's explode the WATER around the dodging boat.

CIGARETTE BOAT

As the boardwalk gets closer, Manisha spot a large boat TRAILER parked half way in the water on the boat ramp to her right. An overweight WOMAN in a tight bikini yells at her HUSBAND standing in their launched boat as she hold a rope from the ramp. Manisha pulls back on the THROTTLE to get an angle on the ramp as two military patrol boats race up on each side of her. Closing in to squeeze her, Manisha quickly grabs two GRENADES from her belt, pulls them off, releasing the pins and tosses one into each boat.

PATROL BOATS

The grinning captain pulls up to the side of the Cigarette boat, banging the hull with his side. On the opposite side, the other boat does the same, squeezing Manisha. Suddenly, a GRENADE lands at his feet. A quick look across to the other patrol boat finds the other CAPTAIN looking down as well. They both look up and at each other, panic on their FACES.

BOARDWALK

The huge crowd SCREAMS when the patrol boats explode. Several point at the large Cigarette boat as it speeds towards the boat ramp. Suddenly, the SHARPSHOOTERS on the hotel let go with long BURSTS of gunfire. The CROWD goes crazy, yelling and running everywhere. Total chaos.

CIGARETTE BOAT

Manisha puts the speeding boat on a direct course for the boat ramp. Several bullets strike her TRANSOM, sending black smoke into the sky. Hitting the partially submerged trailer at top speed, the Cigarette boat launches like a rocket off the trailer, over the truck pulling it and flies airborne into the roof of the

97.
repair shop. The boat hits the roof nose first, CRASH! Manisha and boat smash through the roof, disappearing from view in a cloud of dust and debris.

BOARDWALK

A tentative calm settles over the CROWD as the sharpshooters guns go silent. The patrols boats slow their pursuit as everyone watches the large repair shop.

REPAIR SHOP

The large building fronted by two closed wooden garage doors CREAKS from the roof damage. Suddenly, the building starts to collapse sideways. Just as the building falls, a late 1970's Ford Bronco with Manisha at the wheel crashes through the front garage door and races down the boardwalk towards the hotel shops. The crowd screams in terror, scattering as the sharpshooters again open fire on the truck.

FORD BRONCO

Manisha rides lows in the driver's seat at bullets rip the truck apart. Turning left where the pier meets the boardwalk, strangling tourists leap into the water as Manisha aims straight for a store front advertising "Insurance Coverage for All Disasters." She crashes the Jeep at full speed through the WINDOW, plowing all the way in and through the well appointed office and half way through the back WALL.

PIER AND BOARDWALK

Dozens of OFFICERS leap from the harbor boats and join dozens more COPS all running down the pier and boardwalk towards the destroyed insurance OFFICE.

HOTEL LOBBY

Several patrons wait to check in at the ornate front desk. Without warning, Manisha crashes through the wall behind the counter. Shoving debris out of her way, she leaps over the hood of the Bronco and races across the lobby. At the same time, several federal officers rush in from the

98.

front doors.

Manisha downs them with several short bursts from her MACH
10's.

Reaching an opening ELEVATOR, she tosses two TEENAGERS out
and pushes the FIFTH floor BUTTON. Above the button is a
Penthouse BUTTON. The doors close.

ELEVATOR

With the doors closed, Manisha quickly reloads her Machine
guns and checks her PISTOLS. Satisfied, she watches the
floor NUMBERS slowly move while soft muzak plays in the back
ground..2..3..4..5..DING, the doors open to an empty hall.
She exits, pistols raised.

HOTEL FRONT ENTRANCE

Dozens of police, fire and federal vehicles screech to a
halt in the main driveway. Well armed agents from numerous
agencies fill the main lobby. A lieutenant orders men to
take up positions at all exits and several more to the
penthouse floor. The men race to the stairs and disappear.

FIFTH FLOOR

Manisha runs down a long hall toward a corner when she hears
a DING from around the bend. She hugs the wall, then leaps
around the corner, guns up.

Standing next to the ice machine and dinging microwave oven,
an overweight hotel security guard freezes in place with a
burrito hanging from his mouth.

Grinning, Manisha holsters her guns, pokes the guard in the
eyes, punches him in the nose and kicks him in the crotch.

As the ELEVATOR DINGS behind her, she leaves the downed
guard and hits the stairs DOOR.

SIXTH FLOOR

Manisha, crouched low, cracks the stair DOOR an inch and
looks down the HALL. Standing post next to the stair door, a
well armed federal AGENT listens to his RADIO.

RADIO
Suspect stopped on fifth floor,
stair way guards, proceed to fifth
floor and eliminate.

99.

STAIRWAY GUARD
(into his radio)
Roger that. Lawson heading down.

The guard turns and pushes the door open. Taking two steps
inside the stair well, Manisha trips him, sending the guard
flying down to the next LANDING. She leaps down after him,
taking his radio. When the guard starts to stir, she knocks
him back out with a quick kick to the head.

Back at the sixth floor, Manisha runs towards the penthouse
DOOR. As she approaches, four large men, unarmed, walk out
laughing and talking. Seeing her, they quickly assume karate
positions.

Manisha runs full speed towards the men, grabbing a mop
leaning against a maids cart.

Leaping up, she strikes the first in the chest, knocking him
out. Wielding the hop handle, she battles the remaining
three, until all are unconscious from several well placed
shots with the handle.

Searching the rest of the hall, she finds it empty. Spotting
the open penthouse DOOR, with boots CLANGING from the
stairwell, she hustles into the penthouse and closes the
door.

PENTHOUSE

Manisha stops just inside the door. A commanding view of the
MARINA and BAY greet her. Sitting quietly on a couch facing
the door, MASON DURNEY, late 70's, dark eyes, hooded
features, stares at Manisha. A PISTOL rests on his lap.

MANISHA
You've been a bad boy, Mason.

MASON
I wondered when you would arrive,
Shanti.

Mason gestures over his shoulder at the FIRES and
DESTRUCTION on the pier, boardwalk and in the marina.

MASON
Subtlety was never been your
strong suit, was it?

MANISHA
You know what I must do?

100.

MASON
(fingers his gun)
Should I even try to resist?

MANISHA
If you must, Mason.

FOOTSTEPS race down the hall outside the room. Manisha
notices the noise.

MANISHA
But you better hurry before...

Mason goes for his gun. Before he has a chance, Manisha
shoots him in the CHEST. As Mason gasps, she runs across the
room to a stairway marked "Roof Garden." She races up the
steps as the federal agents smash through the door.

HOTEL ROOF

Two hovering Apache helicopter pepper the roof as Manisha
sprints from the door towards the water side of the roof.
From the far end of the roof, the sharp shooters swing their
guns around and start firing away.

As she nears the parapet perimeter half wall, both Apaches
let loose with eight Stinger missiles, ZING!

Leaping onto an air conditioner, Manisha leaps off the hotel
as the missiles hit. The entire top floor of the building
explodes in a huge FIREBALL.

Manisha swan dives out and over the boardwalk into the dark
water below. Burning debris rains down on the boardwalk and
into the water after her.

WATER

Manisha surfaces and adjusts her SUNGLASSES. Surrounded by
burning remnants of the hotel, she spots one of the federal
SKI DOO's. Quickly swimming over, she mounts the machine and
speeds away from the flaming disaster area.

INT. ANTON'S HELICOPTER - DAY

Anton, circling high overhead, yells and claps his hands.

ANTON
Outstanding! Unbelievable! Cut!
Cut! Let's get down, let's get
down!

101.

EXT. ANTON'S HELICOPTER - DAY

The helicopter dives down towards the pier. Below, Manisha
drives the Ski Doo back towards the boat ramp. The crowd of
extras hustle over towards her, applauding her success.

With Anton looking on as the helicopter decends, he spots
four people all dressed as Manisha lead the rest of the
extras toward the waiting Ski Doo. A questioning look covers
his FACE.

SUPER OVER BLACK "NINE MONTHS LATER"

INT. MARIA'S BEDROOM - NIGHT

Kyle sits alone in a bright, well appointed girls bedroom.
Several framed PHOTOGRAPHS cover the walls between the
framed action movie POSTERS.

SERIES OF SHOTS

-Maria with Kyle at the cantina set.

-Maria and Manisha, in matching leathers, next to the
smashed boat repair shop.

-Maria kissing Nick on the cheek in the penthouse suite.

-Maria with Nick, Matt, Kyle, Manisha and Sean, on the
boardwalk, all dresses in their matching Shanti Ra costumes.

Kyle uses a remote to turn on an LCD TV.

E NEWS ANNOUNCER
Welcome back to this Monday
edition of E News. Well, it
appears the Manisha Basu Anton
LeForce blockbuster hit
"International Justice" will
remain at the top of the box
office for another week.

Kyle lays down on the bed, head propped on his hands.

E NEWS ANNOUNCER
After six weeks and over 500
million dollars in receipts, the
action flick was set to drop from
the number one spot as the new
Steven Spielberg movie, "Dollar
Bill" opened nation wide. However,
after Hollywood insiders last week
leaked to E News the stunning
(MORE)

102.

E NEWS ANNOUNCER (cont'd)
revelation that several of the
action scenes in "Justice" were
completed by LeForce's 12 year old
son, Kyle, after Basu became
pregnant, audiences flocked back
to the film again.

Maria walks in the bedroom and watches with Kyle.

E NEWS ANNOUNCER
According to the results of our
weekend on-line insta-poll, an
overwhelming number of you voted
that having young Mr. LeForce
complete Basu's action scenes only
adds to the films impact and would
send you back for more. As for any
comments from Ms. Basu herself,
she remains in seclusion at her
new Beverly Hills mansion, most
likely tending to her baby
daughter, aptly named, Shanti.

Kyle shuts off the TV.

MARIA
What are you doing in my room?

Kyle quickly sits up.

KYLE
Nothing.

MARIA
Looks like Matt was right after
all about Manisha's fans.

KYLE
Who would of figured?

MARIA
Nick, apparently.

KYLE
It's amazing how he played this.
Getting Matt's dad to agree to
have me...

MARIA
...us.

103.

KYLE
...us ...complete the stunts. Even
.after Matt showed him the tape
from the hidden camera on the
Jeep.

Kyle gets up from the bed and walk around the room, looking
at Maria's pictures.

MARIA
Yeah.

KYLE
Nick knew that once Trig convinced
Hauer he could pull off the marina
shot using me in Manisha's place,
the eventual leak of my
involvement would create a buzz.

MARIA
And Nick leaked?

KYLE
Like an old toilet. Timed it
perfect too. Kept the movie in
first place, even beat Spielberg.
Amazing.

Maria turns to leave the room.

MARIA
Well, come on, lets go.

KYLE
What, are you my boss now?

MARIA
No, but Manisha's mine, well, my
Mom's. And when she says she's
ready to start, we need to start.

Kyle follows her out.

KYLE
OK, Boss.

EXT. MANISHA'S POOL AREA - NIGHT

Maria and Kyle walk out of a small, but beautiful pool
house. Several dozen PEOPLE, enjoying the evening, fill the
expansive patio around a large swimming pool.

104.

Strings of lights circle several palm trees and extend over
the pool. Opposite the cabana house, JULIA fusses over a
long table laden with plates and dishes of steaming FOOD.

Next to the pool, a large white SCREEN hangs suspended from
between two palm trees.

Behind the palm trees in the shadows, the LeForce mansion
and pool glows in soft lights. The huge HEDGE that was
between the properties has been trimmed down to a couple
feet tall.

The old GATE hangs open between the two properties. A small
SIGN on the gate reads "May this gate always be open to dear
friends."

When the guests spot the two kids, they erupt into applause.
Manisha, carrying a BABY, and her husband, Rodger, emerge
from a group by the food table and walk out to address the
crowd.

MANISHA
Thank you all for coming tonight.
Rodger, Shanti and I welcome you
to our new home.
(more applause)
Before getting to our little
movie, I want to personally thank
everyone one of you for the past
year. To Mr. Anton and Mr.
Steinburg...

ANTON and TASHA smile and bow to Manisha. Parting a group of
people next to the pool, Hauer and Matt step forward.

MANISHA
...thank you for taking another
chance on me. I hope your rewards
are numerous...
(applause)
...to Nick Cohen and Mr.
Majors..master planner and master
schemer.

The crows laughs as Trig slaps an embarrassed Nick on the
back.

Manisha hands Shanti to her husband and walks over next to
Kyle and Maria.

            MANISHA
And most of all, I want to...
      (Manisha tears up)
...I want to thank these two
            (MORE)

105.

MANISHA (cont'd)
wonderful young people...
(hugs Maria)
...Maria, you brought back joy and
humor to my life I had somehow
lost working in this crazy
business. You and your beautiful
Mom are now and forever part of
our family.

The crowd claps. Manisha moves over to Kyle, shaking him by
the arm.

            MANISHA
      (smiling)
And this, this crazy, crazy young
man!
      (the crowd laughs)
I don't know where to begin. To
jump on a motorcyle the second
time he'd ever rode one to leap
through an exploding gas truck...

Everyone chuckles. Several people slap ANTON on the back.

            MANISHA
...to keeping my secret...
      (nods to her BABY)
and saving a movie...
      (looks to HAUER
       and ANTON)
...to knowing when he needed a
little help...

KYLE bows towards NICK, SEAN and TRIG.

            MANISHA
...I am forever in his debt.
      (takes Kyles face
       in her hands)
Thank you, Kyle LeForce. I love
you and...

Manisha nods towards the LeForce mansion.

MANISHA
...will continue to keep a close
eye on you, just in case you get
any more crazy ideas.

Every claps and surrounds Manisha, Maria and Kyle.

106.

NICK
Come on, everyone, show time!

The palm tree screen comes alive. Background MUSIC starts to
play. On the screen, raw black and white footage starts
showing from the marina shoot.

SERIES OF SHOTS

-Manisha walking to the Ski Doo after shooting the clerk,
lifts her glasses, winks at the camera and speeds off on the
craft. The camera swings back around as the clerk leaps up.
Rodger pulls off his disguise.

-Sean speeds along in his Manisha outfit towards the boat
ramp. The wig flies off his head and sinks in the water.
Sean laughs as he slows the Ski Doo. He pulls another wig
from his jacket and slaps it on.

-Nick, dressed as Manisha, comes around the corner of the
hall to confront the security guard. After knocking him to
the floor, Nick pulls off his wig to check on the fallen
guard, Trig immediately calls "CUT" and starts to berate
Nick for killing the shot. Nick protests his innocence and
concern for the guard.

-Maria, as Manisha, adjusts her wig and glasses, before
charging in to dismantle the penthouse bodyguards with the
broom handle.

-Kyle, dressed as Manisha, leaps off the building as it
explodes. Seconds later, he emerges from the water, wig and
glasses gone, WHOOPING and HOLLERING.

-Matt, dressed as Manisha, climbs out of the water onto the
Ski Doo. He winks at the hidden camera, puts his glasses
back on and speeds away.

As the crowd laughs and claps, the palm tree screen fades to
"The End."

FADE OUT.

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