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True Lies 真实的谎言台词1  

2010-07-26 09:12:02|  分类: 电影台词 |  标签: |举报 |字号 订阅

  下载LOFTER 我的照片书  |
TITLE SEQUENCE

      1   EXT. MOUNTAINS, NEAR GENEVA, SWITZERLAND - NIGHT

          The snow covered Alps stand out clearly in the light of a full
          moon.  A fortress-like CHATEAU is situated in a flat saddle of
          forest partway up the mountain, next to a frozen lake.  The
          property is surrounded by high stone walls, and the stately
          grounds are bathed in floodlights and patrolled by armed guards
          with dogs.


      2   EXT. CHATEAU - NIGHT

          The driveway and motorcourt are filled with cars.  A formal-
          dress party is in progress... a private reception for a middle-
          eastern dignitary.  Tuxedoes men escort their diamond-encrusted
          ladies through the huge front doors, where they doff their
          overcoats and are politely scanned with hand-held metal
          detectors by white gloved security staffers.

          The walled perimeter of the house runs along the lake, forming
          a kind of rampart.  There is an opening, to a kind of waterway
          or canal, which connects to the private docks inside the
          grounds.  There is a steel grating across the opening.  The
          bars disappear down into the thin ice of early winter.

          With the house visible BG, we CRANE DOWN below the parapet wall
          along which a guard is a white exposure-suit is walking... down
          along the dark wall to the grating... TILTING DOWN to see a
          glow pulsing under the ice.

     
      3   EXT. BENEATH THE ICE, UNDERWATER - NIGHT     
     
          Camera moving toward:  A FIGURE in diving gear working at the
          metal bars with an oxygen arc cutting torch.  One bar has
          already been cut out.  Two quick cuts and a second bar falls to
          the muddy bottom.  Lit now only from the floodlights filtering
          down through the ice, the figure slips through the bars and
          swims powerfully along the stone canal wall.

          Seem from below, the figure is a black shadow moving against
          the rippled-glass of the ice above.


      4   EXT. CANAL AND BOATHOUSE - NIGHT

          A dock extends into the frozen canal, just behind a large
          boathouse.  There is a faint chipping sound.  The ice breaks
          quietly, and the pieces are slid back.  A head appears, in a
          rubber drysuit hood.  The DIVER slips the regulator out of his
          mouth and turns slowly, scanning...  revealing:

          HARRY TASKER.  Our hero.  Harry floats with just his eyes above
          the surface, silent as a water snake, as a guard passes on a
          footpath nearby.

          After a few beats Harry slips out of his tanks and fins,
          letting them sink, and climbs the frozen ladder onto the dock.
          He moves like a ninja into the shadows of the boathouse.
          Opening a WATERPROOF BAG, he pulls out a walky talky.

                              HARRY
                    Honey, I'm home.


      5   INT. / EXT. SURVEILLANCE VAN, MOUNTAIN ROAD - NIGHT

          Meet Harry's partner, ALBERT "GIB" GIBSON, an overweight twenty-
          year-man with a lived in looking face.  Gib answers Harry via
          his headset.

                              GIB
                    Roger that.
                         (he covers the mike and
                          turns)
                    Hey, Fize!  Get your butt in
                    here.  Harry's inside.

          Outside, FAST FAISIL, an Iranian-American, finishes making
          yellow snow and hurries back to the van.  They are parked on a
          winding mountain road a half-mile from the chateau, whose
          lights are visible through the trees.

          Faisil jumps in and goes to the eyepiece of a huge telephoto
          nightvision scope.  The eerie green image lurches as he sweeps
          the grounds, locating the boathouse.


      6   EXT. BOATHOUSE - NIGHT

          Concealed in the shadows, Harry is shucking out of his drysuit.
          Underneath is he is wearing black tux pants, suspenders,
          cummerbund and a formal shirt.  He puts a tiny plug, like a
          hearing aid, deep in his ear canal.  A SUB-VOCAL TRANSCEIVER.
          Very advanced.

                              HARRY
                    Switching to sub-vocal.  Gib, you
                    copy?

                              GIB (OVER)
                    It's Talkradio.  You're on the
                    air.

          Harry slips into his shoulder harness... holster on one side,
          containing his .45 auto Glock-22, and the transmitter pack for
          the ear-piece slung on the other.  He slips on a formal jacket,
          concealing the rig.  Then a final touch.  A little aftershave
          from a tiny plastic vial.

          Harry adjusts his bow-tie and strides confidently out of the
          shadows, crossing quickly to the main house.  He looks
          ultrasharp in his black tux with the white silk cummerbund and
          his hair slicked back.  He enters the main house through a back
          service entrance.


      7   INT. KITCHEN - NIGHT
                               
          Harry strides through the huge kitchen like he owns the place.
          The kitchen staff are scurrying around, too busy to really
          notice.  He finger-tastes a dish as he passes.

                              HARRY
                         (French/ subtitled)
                    This needs more garlic.

          He breezes through unchallenged, exiting into the--


      8   INT. MAIN HALL - NIGHT

          Here the party is in full swing.  Harry blends smoothly into
          the crowd of foreign dignitaries, businessman and minor mid-
          east nobility.  They are a high-octane mixture of new oil money
          and old European money, and run the spectrum from stodgy
          bankers to playboy arms dealers.

          Harry strolls amiably among the glittering woman, the cigar
          smoking men, casually snagging a glass of champagne and a
          canape from the passing waiters.  He nods to someone as if he
          knows them.  Greets another is quite fluent Arabic.  People in
          his wake look at each other like "Do you know him?"   They
          shrug, go on with their conversation.  Harry moves through the
          crowd.  Scanning.

                              HARRY
                    There's Daddy Petrobucks.

          HARRY'S POV - Through the crowd is sees JAMAL KHALED, the host
          of the party and owner of the chateau.  He is fat and animated,
          greeting guests with a flourish.  As Harry watches he warmly     *
          greets a beautiful WOMAN.  They become absorbed in a             *
          conversation.

          The woman glances up and sees Harry checking her out.  There is
          a frank moment of returned interest.  Then the crowd shifts,
          cutting off their view of each other.


      9   INT. STAIRCASE AND SECOND FLOOR - NIGHT

          Harry makes his way up the grand staircase to the second floor.  *
          He slips through doors into the private area of the mansion.     *


     10   INT. LIBRARY - NIGHT

          The doors open and Harry slips into the darkened library.  He    *
          crosses quickly to a window and opens it onto a terrace.         *


     11   EXT. BALCONIES - NIGHT                                           *

          Harry goes onto the terrace, and in a display of acrobatic       *
          prowess, he pulls himself up onto the third floor balcony        *
          directly above.  He lets himself into--                          *


     12   INT. KHALED'S OFFICE - NIGHT                                     *

          Khaled's office is ornately furnished.  Beautiful antiques
          glint in the moonlight coming in the French-doors.  Harry
          crosses to an immense desk and boots up the computer there.
          Bathed in the glow from the screen, he pulls a FLAT BOX,  about
          the size of a paperback,  from the back of his cummerbund.  He
          connects it quickly to the modem port in the back of the
          computer.

                              HARRY
                    Modem in place.  Transmitting...
                    now.

          He pushes a button and a green light comes on.


     13   INT. VAN - NIGHT

          Gib and Faisil watch as their monitor screen lights with DATA
          from Khaled's private computer.

                              FAISIL
                    Affirmatory.  We are in.                               *

          Fast Faisil is a computer ace.  His fingers fly on the keyboard
          as he types rapid key commands.  We see familiar "windows
          appear".  The words are all in Arabic characters.

                              FAISIL
                    These are encrypted files, guys.
                    This is going to take me a few
                    minutes.


     14   OMITTED                                                          *


     15   INT. 2ND FLOOR HALLWAY - NIGHT                                   *

          TIGHT ON LIBRARY DOOR.  It opens a crack and a dental mirror     *
          comes out, looking around like a U-boat periscope.  Seeing the
          coast is clear Harry slips out.  But just as he is closing the
          door, a GUARD rounds the corner ten feet away.  Harry turns
          smoothly.  He smiles sheepishly and moves toward the guard.

                              HARRY
                         (In Arabic/ subtitled)
                    Where's the john around here?  I
                    have to take a major leak.

          The guard points warily down the corridor.  Harry nods and
          heads that way, back toward the party.


     16   INT. MAIN HALL/ STAIRCASE - NIGHT

          Harry comes down the staircase amid the glitter of the party.
          He is sipping champagne and looking bored.  He sees two
          security guys moving purposefully through the crowd toward the
          stairs, walkies in their hands.  He turns away as they pass him
          and pretends to study a large fragment of bas-relief... a
          temple frieze depicting a war chariot drawn by four horses.

          He senses someone next to him and turns.  It is the WOMAN.  She  *
          is captivatingly beautiful, and her gaze is piercing.

                              HARRY
                         (indicating the bas-
                          relief)
                    Magnificent, isn't it?

                              WOMAN
                    Yes.  Hi, I'm Juno Skinner.  I
                    thought I knew most of Khaled's
                    friends but I don't believe I
                    know you.

          Harry offers his hand to her.

                              HARRY
                    Renquist.  Harry Renquist.


     17   INT. VAN - NIGHT

          Gib whirls to the screen displaying the mission database.  He
          scans rapidly for--

                              GIB
                    Skinner.  Skinner.  Come on...

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

                              GIB
                    Juno Skinner.  Art and
                    antiquities dealer, specializing
                    in ancient Persia.


     18   INT. MAIN HALL - NIGHT

          Harry turns back to the fragment of frieze.

                              HARRY
                    This is Persian, if I'm not
                    mistaken.

                              JUNO
                    Very good.  It's sixth century
                    B.C.  Do you like the period?

                              HARRY
                         (shameless)
                    I adore it.


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

          Seen through the starlight scope, we see one of the guards
          shining his light on the hole in the ice and then on Harry's
          footprints leading to the boathouse.  He calls to one of the
          other guards, who comes running over.


     20   INT. MANSION - NIGHT

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

                              GIB (VO)
                    Harry, we got a problem.  Guards
                    are swarming all over the dock.

          Harry glances up the stairs.  Khaled's SECURITY CHIEF is
          gesturing to several of his men, and speaking quickly into a
          walky.  Three SECURITY MEN come down the stairs, scanning the
          crowd.  Harry turns smoothly away from them and takes Juno's
          arm.

                              HARRY
                    Do you dance, Ms. Skinner?

          He steers her toward the dance floor.


     21   INT. VAN - NIGHT

          Gib, listening, rolls his eyes.  He looks through the night-
          vision scope.  Guards are running around outside the chateau.
          Harry's stirred up the hornet's nest.  Faisil is still jamming
          at the keyboard.

                              FAISIL
                    Okay, files are unlocked.  I'm
                    in. I'm down, baby.  I got my
                    hand up her dress and I'm going
                    for the gold.  I'm--

                              GIB
                    Just copy the goddamn files!
                         (into his headset)
                    Harry, don't be stopping to smell
                    the roses, now.  You hear me,
                    Harry?


     22   INT. MAIN HALL - NIGHT

          Harry whirls Juno aggressively across the dancefloor.  She
          responds deftly.  They are well matched.  She parries each of
          his smooth moves with a flourish.  It is a contest of wills,
          and a surprised appraisal for each that the other is worthy.
          Juno is hot.  He bends her back at the waist, then snaps her
          up.  She twirls into the crook of his arm.  Their faces are
          inches apart.  Wow.  The music ends and she gives him a wry
          grin.

                              JUNO
                    Well.  And I thought this was
                    going to be just another bunch of
                    boring bankers and oil
                    billionaires.

                              GIB (OVER)
                    Harry, seconds count, buddy.
                    Ditch the bitch, let's go.

                              HARRY
                    Unfortunately, Juno, I have a
                    plane to catch.

          She slips a card out of a pocket in her otherwise sheer dress.
          She hands it to him, maintaining eye contact.  Serious sparks.

                              JUNO
                    Call me, if you'd like to see
                    some of my other pieces.

                              HARRY
                    I'd like that.


     23   INT. VAN - NIGHT

          Gib can't believe this conversation.

                              GIB
                         (to Faisil)
                    Son of a bitch is with her two
                    minutes and she's ready to bear
                    his children
                         (to Harry)
                    What's your exit strategy Twinkle
                    Toes?


     24   EXT. CHATEAU/ FRONT ENTRANCE - NIGHT

          Harry nods to the security men at the door as he strides
          confidently through.  He goes down the steps to the broad
          terrace above the motor court.  Behind Harry, a GUARD lowers
          his walky talky and starts after him.

                              GUARD
                    May I see your invitation, sir?

          Without turning, Harry slips a small flat box out of his breast
          pocket.  A REMOTE DETONATOR.

                              HARRY                                        *
                    Here's my invitation.                                  *

          He pushes the button and--                                       *

          KABOOM!  The  second floor office windows blow out in a fiery
          explosion.  Using the diversion, Harry leaps off the terrace
          before the guard can open fire.


     25   INT. / EXT. VAN - NIGHT

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

                              GIB
                    Aw, shit.  Here we go--


     26   EXT. CHATEAU AND GROUNDS - NIGHT

          Harry sprints across the snow-covered lawn, through the trees.
          Guards with automatic weapons run after him, firing.  The snow
          explodes around him with bullet hits.

          TWO DOBERMANS pelt toward Harry, leaping at him in perfect
          unison.  He waits... and knocks their heads together in mid-
          leap with a crack like a baseball bat.  The dogs drop to the
          snow, wobbling around like they're drunk.

          As Harry sprints on, ANOTHER DOBERMAN lunges out of the bushes
          ahead, leaping directly for his throat.  Harry grabs the dog
          and shot-puts him up into a tree without breaking stride.  Dog
          Fu.  The dog yelps and scrambles to hold onto an icy branch,
          looking down in amazement.


     27   EXT. PERIMETER WALL/ MOUNTAIN SLOPE - NIGHT

          Harry leaps down on the outside of the wall, hitting a snow
          bank and sliding downhill.  He sprints down the gentle slope
          toward the highway.

          Harry looks back as TWO GUARDS ON SKIS come out of a guard
          station beside the main entrance.

          TRACKING WITH THE SKI-GUARDS, searching through the trees with
          lights.  They have lost Harry.  They stop.  A snowbank behind
          them EXPLODES as Harry leaps out.  He disables them both with
          vicious street-fighter moves.  Harry looks upslope as--

          A service gate opens in the perimeter wall and TEAMS OF
          SECURITY MEN in white snow-suits pour out, some on skis, some
          on SNOWMOBILES.  A HELICOPTER rises over the wall in a blast of
          swirling snow.  Its xenon lights rake through the trees,
          casting lurid wheeling shadows on the snow.

          ON Harry, snapping closed the ski boots he has stolen from one
          of the disabled guards.  He pops the boots quickly into the
          bindings and takes off downhill with one of the guard's FN FAL
          rifles slung across his back.

          The helicopter swoops downhill, its searchlight blazing through
          the forest.  Snowmobile headlights illuminate the ski-patrols
          zig-zagging among the trees.

          Harry slashes expertly downhill.  He cuts a distinguished
          figure in his black tux.  Automatic weapons fire rips through
          the trees from behind him.  Harry is going flat-out.  The xenon
          light hits him.  A 7.62 mm machine gun in the chopper rips the   *
          slope into white clouds around him.  Harry slashes, turns,
          weaving among the trees at breakneck speed.  A snowmobile is
          closing in, outflanking him.  He turns toward it, suddenly.
          Hits a mogul.  Uses the air to slash his skis right across the
          rider's face.  The snowmobile crashes and tumbles into the
          night.


     28   INT. / EXT. VAN - MOUNTAIN ROAD - NIGHT

          GIB'S VAN takes an icy turn in a hairy slide.

          INSIDE Gib is peering upslope, trying to see what's going on.
          All he can see are lights and gunfire.

                              GIB
                    Harry, what's your twenty?  I
                    need a position, buddy--

          Suddenly a skier in a black tux launches across the road from
          the slope above, RIGHT OVER THE VAN, and lands deftly
          downslope.

                              GIB
                    Uh... right!  I'll catch you on
                    the next bend.

          Behind the van, pursuing guards leap across the road.  Only
          about half can make the jump.  The rest crash horribly.  The
          helicopter thunders overhead.


     29   EXT. MOUNTAIN SLOPE - NIGHT

          Harry sees the chopper start an attack run.  He comes out into
          the open, going straight downhill like a rocket.  The chopper
          gets suckered in...  trying to hit him, getting right down
          behind him... and suddenly-- Harry slides to a stop in an
          explosion of powder and whips up the rifle.  P-P-P-POW!  He
          rakes a burst across the windshield.  The startled pilot
          swerves and-- Suddenly two tall pine trees are right in front
          of him.

          K-WHACK!  The main-rotor blade snaps clean off and the chopper
          drops into the snow, plowing into a snowbank.  It slides right
          to the edge of a steep ridge and stops, teetering.

          Firing from a snowmobile, one of the guards puts a burst right
          across Harry's path.  Harry's skis are hit and he tumbles,
          comes out of it...  running down the hill like a juggernaut in
          his heavy boots.  He has lost the rifle somewhere in the snow.

          Harry takes cover behind the burning wreck of the downed
          chopper, which still has its engine running.  The ski patrol
          opens fire from upslope.  Rounds whacking against the disabled
          helicopter.

          Harry looks down the slope and gets an idea.  He jerks the
          unconscious pilot out and pushes on the fuselage, rocking it.
          It slips over the edge.  He leaps inside as it topples forward
          and slides down the slope.


     30   INT./ EXT. HELICOPTER - MOUNTAIN SLOPE - NIGHT

          Harry adds throttle and works the footpedals, using the tail-
          rotor to steer.  The chopper had snow-skids, and Harry is
          skiing the damn thing down the mountain.

          The copter is burning as it rockets down the slope on its        *
          skids.  Bullets are hitting the fuselage, and everything around
          it.  Skiers are wiping out, hitting trees.  A snowmobile hits
          a rock and flies spectacularly into a ravine.

                              GIB (OVER)
                    Harry!  Where are you!

                              HARRY
                    In the helicopter.


     31   INT./ EXT. VAN - MOUNTAIN ROAD - NIGHT

          Gib slides the van around a curve.

                              GIB
                         (deadpan, to Faisil)
                    He's in the helicopter.

          Big is scanning above for the chopper.  Then upslope he sees
          the burning fuselage skiing expertly among the trees.

          The chopper hits a jump and launches into the air-- It crashes
          through trees, still soaring and-- Gib looks up, screaming as--
          The chopper drops right toward him-- He hits the brakes and--
          BLAMMO!  It drops onto the road ten feet in front of the
          skidding van...  then slides over the edge and tumbles into a
          rocky canyon where is BLOWS UP!  The fireball lights up the
          night.

          Gib and Faisil jump out of the van.  They look downslope at the
          burning wreckage.

                              GIB
                    Harry?  HARRY?!

                              HARRY
                    What?

          Gib and Faisil spin to look behind them.  Harry is lodged in
          tree-branches hanging over the road.  Gib hands his MP-5K        *
          machine gun to Faisil and reaches up to Harry, who grabs his     *
          hand and pulls.  Harry tumbles down into the snowbank.  He
          stands, brushing snow off his tux, and clomps toward the van in
          his ski-boots.  He is completely unruffled.

                              HARRY
                    Let's go.  We can still make our
                    flight.

          As Faisil is getting into the van behind Harry, TWO GUARD TEAMS
          ON SNOWMOBILES roar around the bend behind them, fish-tailing
          on the ice.  Faisil OPENS FIRE.  One snowmobile swerves over
          the embankment.  The other pulls up broadside, and the guards
          duck behind it.  Gib floors it and the van roars down the
          mountain.  Faisil is still Ramboing on full-auto.

                              FAISIL
                    This is GREAT!!  I never get to
                    shoot!

                                                      CUT TO:


     32   EXT. DULLES AIRPORT - NIGHT

          An American Airlines 747 touches down amid puffs of tire smoke.


     33   EXT. SUBURBAN D.C. STREET - NIGHT

          A NON-DESCRIPT SEDAN pulls to the curb in a neighborhood of
          modest middle-income tract homes.  The street is deserted.  It
          is 4 A.M.  Gib is at the wheel, dropping Harry off at his
          house.


     34   INT. SEDAN - NIGHT

          Harry is emptying his pockets... passport, business cards etc.
          All documents under his name "Renquist".  He double checks that
          his pants and jacket pockets and empty.  Gib fastidiously puts
          the items into a plastic zip-lock.

                              HARRY
                    Empty.  Go.

          Gib starts handing him items from a briefcase.  This should all
          feel like a tired ceremony between them.

                              GIB
                    Harry Tasker wallet.  Harry
                    Tasker passport.  Plane ticket
                    stub, hotel receipt, Tasker.  Two
                    postcards of Lake Geneva.  House
                    keys.  Souvenir snowing Swiss
                    village.

          Gib snows him how is snows when you shake it up and turn it
          over.

                              HARRY
                    What's this for?

                              GIB
                    For Dana, schmuck.  Bring your
                    kid something.  You know.  The
                    dad thing.

                              HARRY
                    Got it.  Nice touch.  Okay, pick
                    me up at eight.  The de-brief is
                    at ten hundred.

          Harry opens the car door.

                              GIB
                    Hey, hey, hey... what are we
                    forgetting?

          Gib holds up Harry's gold wedding band.  Harry puts it on.

                              HARRY
                    What a team.  See you at eight.

                              GIB
                    Yep.  Sleep fast.


     35   INT. TASKER HOUSE - NIGHT

          Harry slips inside.  He sets down his suitcase and walks
          quietly down the hall.  He pauses at a door with lurid labels
          and stickers plastered all over it (Toxic Waste,  STAY OUT!, IF
          IT'S TOO LOUD YOU'RE TOO OLD, etc.)

          Harry silently opens the door and looks in at his sleeping
          daughter, DANA.  She looks like an angel in the moonlight
          coming in the window.  In fact, she is a typical 14 year old
          girl, and therefore hardly an angel.  But to Harry she is
          unflawed.


     36   INT. MASTER BEDROOM - NIGHT

          Harry, undressed now, slips into bed next to... a lump in the
          covers which we presume to be a human being.  This is HELEN
          TASKER, Harry's wife of 15 years.  He kisses her on the cheek
          and she stirs.  She rolls toward him, giving him a sleepy hug
          and a kiss.

                              HELEN
                         (a drowsy murmur)
                    Hi, honey.  How was the flight?

                              HARRY
                    Fine, honey.  Stay asleep.

                              HELEN
                    Okay.

          As she drifts off, Harry puts his head on the pillow and stares
          at the ceiling.

                                                      DISSOLVE TO:

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