diff --git "a/unformated_scripts/Script_Charlie's Angels.txt" "b/unformated_scripts/Script_Charlie's Angels.txt" new file mode 100644--- /dev/null +++ "b/unformated_scripts/Script_Charlie's Angels.txt" @@ -0,0 +1 @@ + byEd Solomon and John August current revisions by Zak Penn EARLY DRAFT August 11, 1999CHARLIE'S ANGELS - 8/18/99FADE IN:EXT. THE BIG BLUE SKY - DAYA VIRGIN AIR 747 bursts through the clouds and levels off.INT. VIRGIN AIR 747 - DAYWe move through the FIRST CLASS CABIN. It's the regularmix of first class people: OLD MONEY in Gucci enjoyingfreshly baked cookies, a MILLIONAIRE in jeans and a T-shirt, BUSINESS PEOPLE relaxing after a tough day, and......a very nervous MAN.Shifty-eyed. Alone in an aisle seat, the emergency row.We hold on him for a moment, but not for too long. Thenwe continue moving into --THE COACH SECTIONStopping at the lavatory, the "OCCUPIED" sign switches to"VACANT" and...JAMES EARL JONES(or actually, a James Earl Jones type, who for ease ofdescription, we'll simply refer to as James Earl Jones)steps out of the restroom, in full African regalia:multi-colored dashiki, mufti (it's a kind of hat), theworks. He heads up the aisle towards --THE FIRST CLASS CABINWhere he is stopped by a -- FLIGHT ATTENDANT I'm sorry, sir. This cabin is restricted to first cl...Mr. Jones now removes a FIRST CLASS TICKET. JAMES EARL JONES Is this what you're looking for?She looks at it -- a little confused as to why he's justhanding it to her now -- but then she nods. As he passes: FLIGHT ATTENDANT Oh, I'm sorry. Please. Is there anything I can get you? JAMES EARL JONES Scotch, blended. Straight.He continues into the first class cabin and toward --CHARLIE'S ANGELS - 8/18/99 2.THE FIRST CLASS EMERGENCY ROOMWhere he slides in past the nervous, shifty-eyed man (hisname is PASQUAL) and sits by the window.After a moment, Pasqual quietly clears his throat andleans, slightly, towards Jones. PASQUAL (tentatively) They say birds can't fly this high. JAMES EARL JONES They say only angels can.Now Pasqual nods. Nervously begins to remove somethingfrom his pocket when they are interrupted by -- FLIGHT ATTENDANT Shall I pour your scotch? JAMES EARL JONES No -- I'll take the bottle. Thank you.She hands him the airplane-sized bottle -- he waves offthe glass. She shrugs, leaving...Pasqual to resume what he was doing. Slowly, he removesa roll of Certs. He looks to Jones -- "Well? What aboutyour end of the bargain?"From within his dashiki, Jones pulls out a black velvetpouch. He hands it to Pasqual, who opens it to finddiamonds. A helluva lot of diamonds. Pasqual smiles.He hands the roll of Certs to Jones. It's not breathcandy at all, but a tiny roll of explosives, with a tiny,high-tech triggering mechanism. JAMES EARL JONES Ah, c-5. The most dangerous explosive material ever invented. Hard to believe that this little contraption could blow up ten city blocks. PASQUAL Be careful with it, huh?Both men smile. Pasqual's very relieved that the deal isdone.Then suddenly, the lights blink out.Pasqual looks around, nervous. But it's just the in-flight movie beginning. Clouds, and a woman holding atorch. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 3.CONTINUED:Columbia Pictures presents... David Spade and AdamSandler in "BOSOM BUDDIES: THE MOVIE."James Earl Jones shakes his head, rolls his eyes. JAMES EARL JONES Another movie from an old TV show? PASQUAL Well, what're you gonna do? JAMES EARL JONES Walk out. PASQUAL That's very funny.But James Earl Jones is dead serious. JAMES EARL JONES No. It isn't.Jones grabs Pascal in a headlock and turns toward theback of the plane, shouting: JAMES EARL JONES (CONT'D) EVERYONE! FASTEN YOUR SEAT BELTS!Now Jones does the unthinkable. Holding Pasqual tight,he yanks open the emergency door release.With a RUSH, the cabin decompresses.Panic erupts as air, paper and everything not belted inscreams out of the open door, including --EXT. THE BIG BLUE SKY - FALLING AWAY FROM THE 747 - DAY-- James Earl Jones, still holding Pasqual in a bear hug.They plummet, wind violently tearing at them. Pasqual'sfrantic SCREAMS doppler quite nicely.DROPPING WITH THEMThey continue to fall, gaining speed. Pasqual isterrified, but Jones doesn't seem worried. In fact,casually, he glances at his watch, and then looks --FAR BELOW THEM - ACROSS THE SKYAt the tiny black speck gradually grows larger in thedistance...CHARLIE'S ANGELS - 8/18/99 4.CLOSER - ON THAT BLACK SPECKIt's a jet helicopter. Its door opens, and now a SKYDIVER leapsout, helmet down, arms back, streaking across thesky in aerodynamic perfection, heading directly towardsJONES AND PASQUALwho are still plummeting toward the earth at terminalvelocity. Jones begins to let go of Pasqual, who SCREAMSand tries to clutch onto him, desperate. JAMES EARL JONES (over the rushing wind) PULL YOURSELF TOGETHER. WE HAVE COMPANY. PASQUAL WHAT?Suddenly -- WHOMMPPPH!! -- the skydiver spread-eagles,stopping the wild dive directly behind Pasqual, andimmediately binds his arms and straps a parachute on him.All three are still free-falling.James Earl Jones nods at the Skydiver who, even under thehelmet and goggles, is clearly a beautiful woman.Meet ALEXANDRA "ALEX" MUNDAY, one of Charlie's Angels.She's a sultry bombshell -- a classic femme fatale --only she's playing for the good guys.She gives James Earl Jones a wink, then jerks Pasqual'srip cord and -- WHOOMPH. Pasqual's chute deploys. Heflies upward, leaving --Alex and James Earl Jones, both still falling. Below theocean screams up at them. Not much time left.James Earl Jones pulls his belt -- and his mufti fliesup. It's actually a tiny drogue chute, deploying hisentire dashiki. His outfit hides a parachute rig.Alex pulls her own rip cord and -- WHOOMPH -- her chuteunfurls, and now...Alex and James Earl Jones gently float towards --EXT. THE BIG BLUE SEA - DAYA cigarette boat floats through the choppy water, agorgeous young woman expertly throttling up the growlingV-8.Say hello to NATALIE THOMPSON, Charlie's second angel.At a glance, she's the brainy-shy girl next door. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 5.CONTINUED:But put her behind the wheel of any vehicle, and she'sunstoppable.Natalie glances ahead, maneuvering the boat perfectly underAlex, who drops on deck. Alex gathers her chute, then whips offher helmet to give her cascading mane a wild shake.Here comes James Earl Jones. Natalie guns the boatunderneath...a perfect catch. Alex helps him with hisdashiki-chute, and then all three look up...Here comes Pasqual. Natalie whips the boat around,catching him as he helplessly drops into the seats, stillbound, still scared out of his wits. He gapes wild-eyedat the two Angels, then whirls on James Earl Jones. PASQUAL You crazy bastard! JAMES EARL JONES I think you mean crazy bitch.With that, James Earl Jones reaches up and pulls his faceoff. Latex rips free, and standing there (without hisdashiki, James Earl Jones has a great figure) is...... stunningly beautiful DYLAN SANDERS, angel numberthree. She's the wild one.Pasqual's jaw drops as Dylan shakes her hair free, thenreaches in her mouth -- DYLAN (still with James Earl Jones' voice) Don't need this anymore.-- and extracts a voice-modifying chip. DYLAN (CONT'D) (now in her real voice) But I sure could use this.And she pulls from her pocket the airplane-size bottle ofJohnnie Walker Black. She twists it open and downs it. DYLAN (CONT'D) Damn I hate to fly.EXT. BEACH DOCK - DAYNow, MEN IN "FBI" WINDBREAKERS haul Pasqual away, two ofthem carefully handling the certs-explosive. A harmlessfellow pushes his way past them and onto the dock.It's JOHN BOSLEY, Charlie's lieutenant. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 6.CONTINUED:He reaches the boat, which Natalie ties off while Alexand Dylan neatly fold their parachutes. BOSLEY Well, Angels, the experimental explosives are back in the hands of the government, and the free world can breathe just a lit-tle bit easier tonight, thanks to you three.Alex, Natalie and Dylan stroll from the dock onto the sand,each starting to unzip/unbutton/unsnap their action gear andhand it to Bosley as they continue walking. NATALIE And thanks to you, too, Bos. ALEX We couldn't have redirected the flight path without your help.Bosley puffs, proud. He speaks over the ever-growingpile of chutes, body suits, goggles, the dashiki... BOSLEY Nothing a little teamwork can't do. At least, that's what Charlie's always telling us, right ladies? DYLAN Charlie will be joining us, won't he? BOSLEY He sends his regrets. But he wanted you to know that dinner is on him, so feel free to celebrate.By now, the Angels have stripped off all of theirequipment, revealing eye-popping evening gowns. ALEX If it's on Charlie, we will.The Angels share a laugh as they arrive in their sassyduds at a private beach club, where a WAITER greets themwith a tray of champagne flutes.They each take a glass, turn to each other and raisethem. Another Angels Mystery... Case Closed.FREEZE FRAME. And the TITLE SEQUENCE BEGINS... CHARLIE (V.O.) Once upon a time... (CONTINUED)CHARLIE'S ANGELS - 8/18/99 7.CONTINUED:THREE FOURTH GRADE SCHOOL PHOTOS FILL THE FRAME, side byside by side. These are three very different girls.NATALIE, with a page-boy cut and wearing a Catholicschoolgirl's uniform, sports glasses and braces; a bitawkward and gangly, even shy.ALEX, formally dressed with perfect pig-tails, issophisticated and self-possessed; a class act, even at ten.DYLAN, wild blond hair and faded T-shirt, has a jaded,street-wise smirk; even at this young age, her isolationand disillusionment are masked by seeming confidence. CHARLIE (CONT'D) ... there were three very different little girls.The triptych remains on screen. Now it shifts into:VIDEO TAPE - THE THREE GIRLS (STILL IN TRIPTYCH)Now TEENAGERS, on HOME VIDEO.NATALIE, working the A-V equipment at school, hides herface in embarrassment, uncomfortable with the camera.FREEZE.ALEX, in riding gear, accepting her steeple-chase trophy.She knows where to look for the camera. FREEZE.DYLAN, smoking with her tough-girl friends in the girls'room of her reform school, is caught on camera. Sheflips it off. FREEZE. CHARLIE (CONT'D) Who grew up into three very different women.TRIPTYCH CONTINUESThey're all WOMEN now, in their early twenties.NATALIE, a research fellow at MIT (and beautiful, but notflaunting it) demonstrates a chess-playing computerprogram to a room of impressed advisors.ALEX, valedictorian at Oxford, passionately delivers heraddress to a crowd of rapt students, faculty and parents.DYLAN, in leather and a helmet, steps off a Harley. Shesees a punk with a mohawk slapping around his girlfriend.She decks him, then enters the back door of a seedy punk bar. CHARLIE (CONT'D) With three things in common...CHARLIE'S ANGELS - 8/18/99 8.TRIPTYCH ENDSWith photographs again. The women, as they are now:Natalie, Alex, Dylan. All gorgeous, all self-assured. CHARLIE (CONT'D) They're brilliant. They're beautiful. And they work for me.Now, FIREBALL EXPLOSIONS completely fill the screen. CHARLIE (CONT'D) My name is Charlie.ANGEL SILHOUETTES appear, in flames. New MUSIC kicks in. "CHARLIE'S ANGELS"...And a new title sequence takes over:VARIOUS SHOTS: MONTAGE (OVER MUSIC)Credits continue as we watch the Angels in action (from,presumably, previous adventures...)-- A microscope-peering Natalie cuts a ruby, drops it ina laser housing, shoots a red beam.-- Dylan, wielding kendo sticks, spars with two Yakzuza.-- Alex side-kicks two baddies, spins, drops a third.ZOOM BACK: she is at the Parthenon.-- A motocross race. Natalie digs in for the finish,attacking the last jump with gusto.-- Dylan, in traditional Islamic robes, finds a secretswitch. She pushes back a bookcase to reveal secret stairs.-- At a ballroom dance competition, Alex wows the crowdwhile keeping her eye on a nefarious couple.-- Bosley, as "Luka, the Bad Ass Pimp," bitch-slaps acouple of "ho's" -- actually Dylan and Alex -- then winksat them as unsuspecting drug dealers back off, scared.-- Natalie bites into a messy hot-dog, has to just laugh.-- The three angels elbow their way through a roller-derby match.-- In orange prison jumpsuits, Alex and Dylan work infemale chain-gang.-- Window-washer Natalie peers into a skyscraper office,surreptitiously photographing the meeting inside. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 9.CONTINUED:-- On an Italian street, the three Angels buy a paper,grin at the headline, "Mystery Women Save EuropeanUnion." As they high-five, Dylan's cone of gelato dropsto the sidewalk. The Angels look at it, look at eachother...and just have to laugh.TITLE SEQUENCE ENDS.OVER BLACK we hear a DIGITAL RING...INT. TINY HOUSEBOAT BEDROOM - DAYCLOSE ON Dylan as she wakes up in a tangle of uglysheets, disoriented and a bit hungover. She hears theRINGING -- where is it coming from? Why is it drillinginto her head?Checking the floor, she finds her jeans. Digs in thepocket to find her cell phone. Answering... DYLAN Hi. (recognizing voice) Hi. Okay. I'll be right in.She clicks the phone off, then starts looking around.Where the fuck is she?From the next room, we hear a male VOICE singing "MySharona." She checks under the sheets. Oh God. She'snaked. She pulls her shirt from the floor, puts it on.Closing her eyes, she prays... DYLAN (CONT'D) Not him. Not him, not him, not him. THE VOICE 'Morning starfish. DYLAN Oh God no.At the door, skinny shirtless CHAD holds a skillet of eggs. CHAD Hungry?EXT. CHAD'S CRAPPY BOAT - DAYBlinded by the daylight, Dylan emerges from below,relieved to see the boat is docked. Chad follows heroutside, pleading... CHAD C'mon Dylan. You + Me. It's magic. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 10.CONTINUED: DYLAN It's a mistake. A horrible, horrible mistake.She jumps onto the dock. CHAD Then how come we keep getting back together? It's fate.Dylan just keeps walking. CHAD (yelling after) Is it because I live on a boat? WHIP TO:CLOSEUP - MAN'S FACEThis is Jason Gibbons, handsome, action-movie stud. He'sconcentrating fiercely. ALEX (O.S.) If you don't defuse this bomb, Logan, L.A.'s going to be a new underwater attraction.A bead of sweat drops down Jason's face. JASON Get off my back, Sanchez. I know what I'm doing.REVEAL ALEX, her face right next to his. ALEX Which wire? The red one or the blue one? JASON Marix has a thing for red. Red cars, red boats, red-headed hookers. ALEX So the red one. JASON That's why I'm gonna say blue.He makes a "snip" motion. They both breathe a sigh of relief. ALEX You saved the world again, Logan.She leans forward, closer and closer, right in his face. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 11.CONTINUED: JASON That's my job.Alex kisses him. It's a damn good kiss. Jason's intoit, but pulls away for a second. JASON (CONT'D) I don't think Sanchez would kiss me. He's a forty-year-old man.Pull back to reveal...ALEX and JASON are in a fully macked out Airstream,sitting on a bed, leaning over an open screenplay. Wecan tell from our surroundings that Jason is a big dealHollywood action star, and this trailer is his home awayfrom home.She licks the bridge of his nose, then kisses him again. ALEX Let's have it rewritten.As she smiLes, a cell phone RINGS. Both Alex and Jasonreach for their phones. It's hers. ALEX (CONT'D) Hello?EXT. JASON'S AIRSTREAM - DAYJason stands in the doorway in his robe as Alex tossesher stuff in the back of a very excellent car. JASON So when you coming back? ALEX Not sure. Whenever I can. I'll call you. JASON Oh, great, that's helpful. (watching her prepare to go) I don't get it, what kind of executive assistant is on 24 hour call? ALEX A very good one. JASON You ask me, your boss is an asshole. (beat) When do I get to meet this Charlie guy, anyway? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 12.CONTINUED: ALEX Charlie's not very social. JASON Yeah, well I think you should quit. ALEX Charlie needs me. JASON I need you.Alex looks back -- that was more personally revealingthan she expected.A P.A. comes up next to Jason. P.A. Mr. Gibbons? We're ready for you on the set.Jason nods, then back to Alex. JASON I gotta go save the world.Alex smiles at the irony of that. ALEX My hero.She blows him a kiss and speeds off.EXT. BEACH APARTMENT WALKWAY - DAYNatalie KNOCKS on the door to 113. A beat later, thedoor swings open to reveal BOB.Natalie SCREAMS in astonishment. BOB (freaked) What! Natalie, what? NATALIE I thought you were dead.She pushes past him.INT. BOB'S APARTMENT - DAYNatalie makes a beeline for his keys on the table.Starts taking one key off the ring. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 13.CONTINUED: NATALIE I thought the police might be here. Or your neighbors. Or your parents, here to identify your remains.He has no idea what she's talking about. She goes toTHE BATHROOM,where she retrieves a toothbrush. NATALIE (CONT'D) I saw your car was here, so I knew you weren't carjacked and brutally beaten, left to die on the highway.Her cell phone RINGS. BOB I'm not...She holds up a finger, just a sec. NATALIE (answering phone) Hello. Absolutely. I'll be right in.She hangs up. BOB I'm not dead. NATALIE But you can understand why I thought so. You missed our date last night. You didn't call or anything. I was just sitting there by myself.ANGLE ON Bob. What can he say? NATALIE (CONT'D) I can tolerate a lot, but punctuality and attendance, those rank very high in my list of dating priorities. BOB I can explain.Behind Natalie, a door opens. A topless BLONDE looks out. BLONDE Bobby? BOB (to Natalie) I can explain. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 14.CONTINUED:Behind the Blonde, ISAAC HAYES looks out. He's also topless. ISAAC HAYES Bobby? BOB Damn.Beyond weirded out, Natalie just leaves. CUT TO:EXT. SUNSET BOULEVARD - DAYPassing cars reveal the one and only CHARLES TOWNSENDDETECTIVE AGENCY. That's what the sign says.INT. CHARLES TOWNSEND DETECTIVE AGENCY - DAYIn foreground, a blender WHIRRS. Still hungover, Dylancringes from the sound. Natalie pours out three fruitsmoothies for the angels. NATALIE Just once, I want to date a normal man, without a wife, or a drug addiction, or bondage issues. DYLAN Here here.She and Natalie toast. Alex is only half-in. Off their look... ALEX What? I've got a great relationship. DYLAN Your boyfriend thinks you're a secretary. ALEX That way, he doesn't ask about my work.Bosley walks in with a folder. He eyes their drinks. NATALIE I'm sorry, Bosley. I only made enough for three. BOSLEY No, that's...That's okay.It's not okay, but that's our Bosley. He takes his seatbehind his desk. Now we see the biggest addition to theoffice, the Angels Wall of Fame. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 15.CONTINUED:Pictures of every angel, from the original cast members to somefictitious ones we've never seen before. The rest of the officeis exactly as we remember it, right down to theSPEAKERPHONE. CHARLIE'S VOICE Good morning, Angels. ANGELS (sing-songy) Good morning, Charlie.The angels take a seat on couches and chairs. CHARLIE'S VOICE I'm sorry to call you back from vacation, but we've got a case that just can't wait.As he's talking, the far blinds close themselves. A whitescreen lowers from the ceiling, ready to catch theprojected VIDEO:A handsome MAN IN HIS 20'S in a CNN profile. The sound ismuted, be we see him attending a gala; in an office surroundedby computers; rock climbing; smiling in a sit-down interview. CHARLIE'S VOICE (CONT'D) Meet Eric Knox. NATALIE He's cute. BOSLEY He is.Oops, did Bosley say that out loud? CHARLIE'S VOICE He's 28-years old, and in three days he'll be a billionaire, when his company, Knox Technologies, goes public. DYLAN It's good to be him. ALEX So what's the catch? CHARLIE'S VOICE Last night, Knox was kidnapped from his own office.ON VIDEO: Surveillance camera footage of a parkinggarage. Two MEN IN HOODS shove Knox into black car. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 16.CONTINUED: NATALIE Any ransom? CHARLIE'S VOICE No one's heard a thing from the kidnappers. A WOMAN'S VOICE They don't want money. They just want to sink our company.A striking WOMAN IN A SUIT stands in the doorway. CHARLIE'S VOICE Angels, meet Vivian Wu, vice president of finance for Knox Technologies. She's hired us to find Knox. VIVIAN WU (entering) The initial public offering is in three days. If we don't get Mr. Knox back, or if word gets out that he's missing, the company stands to lose a billion dollars.She seems to direct this next sentence right to Natalie. VIVIAN WU (CONT'D) We need your help. ALEX Charlie, where do we start? CHARLIE'S VOICE Alex, I want you and Bosley to stake out Roger Corwin.Bosley is excited to hear his name mentioned.ON VIDEO: Roger Corwin. He's an unpleasant-looking man,who's even nastier when he tries to smile. We see logosfor his company, Red Star Systems CHARLIE'S VOICE (CONT'D) For the past year, he's been trying to buy Knox's company and their new browser software. Knox refused to sell. His company, Red Start Systems, has the most to gain from Knox's disappearance. ALEX Kidnap the founder and you sink the company. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 17.CONTINUED: CHARLIE'S VOICE Exactly, Alex. Let's keep our eyes on Mr. Corwin, Angels. If Knox is still alive, Corwin might lead us to him. DYLAN We're on it. NATALIE Any chance you can join us, Charlie? CUT TO:CHARLIE'S POVWe see his chalky fingers grabbing into a hand hold.We're halfway up the face of Yosemite's El Capitan -- theground is hundreds of feet below. CHARLIE (O.S.) I'd love to, angels, but I've got my hands full this morning.Two beautiful and buxomly CLIMBING BUDDIES smile at him. WIPE TO:EXT. PALM SPRINGS SPA - DAYEstablishing...EXT. SPA DECK / OUTSIDE WALKWAY - DAYBuilt into the Palm Springs Hills, this very exclusivespa has a fantastic view of the desert.Dressed in a crisp spa uniform, Alex has a sidebar with awhite-robed Bosley. She shows him a tiny electronicdevice shaped like a bullet. ALEX This is a transmitter. I'll be able to hear everything you say. BOSLEY Where do I hide it? (leaning close) I'll be nude.Alex takes a plastic cup, drops the transmitter into it.Covers it over with ice chips from a nearby bucket.Bosley nods, clever. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 18.CONTINUED: ALEX Try to get Corwin to talk about the industry, Knox, anything. BOSLEY Understood.She points him in the direction of the men's spa. But he'sfrozen with excitement. BOSLEY (CONT'D) I'm going undercover. ALEX I know. You'll do great.INT. MEN'S STEAM ROOM - DAYA burst of steam clears, revealing Bosley. He waddles forwardin his shower clogs, which SQUISH with every step. He's wearingtwo towels: one around his waist, and a second around hischest.As more steam dissipates, we see there are SEVEN MEN sitting onthe risers. Six are gorgeous, ranging from Calvin Klein modelsto Marlboro Men. Bosley looks around, taking a keen interest.Maybe he's checking them out, maybe he isn't. We just don'tknow.The seventh man is ROGER CORWIN, who we recognize fromthe videotape. He's leaning forward, a gold chaindangling. It's beside him that Bosley takes a seat.He sets the ice cup -- and the transmitter -- in astrategic location.Noticing that none of the other men have towels aroundtheir bosoms, Bosley nervously undoes his, revealing skinthe color of cooked salmon. He fluffs up his sparse chest hair,then decides to smush it back down.He tries to make eye contact with Corwin, working way toohard. Annoyed, Corwin finally looks over. BOSLEY Hot in here, isn't it?Corwin shakes his head, idiot. BOSLEY (CONT'D) Just came here to unwind a little. Business these days is go go go. My company just held an initial pubic offering.Yes, he said "pubic." He's about to correct himself whena very hot guy across from him moves his towel to wipe off (CONTINUED)CHARLIE'S ANGELS - 8/18/99 19.CONTINUED:some sweat. We don't see the promised land, but Bosleydoes. It flusters him.He sees another guy eating ice chips. Good idea. Bosleydoes the same. He eats another. And another. BOSLEY (CONT'D) (re-composed) So, what business are you in?Corwin seems wary, but Bosley is clearly harmless. CORWIN Computers. Software. BOSLEY Computers, hunh? What do you know about this new browser from Knox Technologies?Corwin bristles at the mention. BOSLEY (CONT'D) Word on the street is, once they raise capital, they'll rule the industry. CORWIN I don't see that happening. BOSLEY Really? Why not?The door opens, a rush of steam. ADONIS HIMSELF enters.Picking a seat behind Bosley, he pulls off his towel ashe passes. We just see a bit of ass, but Bosley is face-to-face with the babymaker.One ice chip is not going to do it. He chugs the rest ofhis cup, includingTHE TRANSMITTERwhich BLEEPS. Corwin and others look over. What the hellwas that?The device still in his mouth, Bosley has no choice but tosmile and swallow. His eyes go wide as he chokes it down.Corwin gets up to leave. BOSLEY (CONT'D) Nice talking with you.Another BLEEP. He shuts his mouth tight. Smiles. Rubshis chest a bit, trying to get the transmitter down.CHARLIE'S ANGELS - 8/18/99 20.INT. PRIVATE MASSAGE ROOM - DAYCorwin walks into a lushly-appointed private massageroom. A masseuse dressed in a skimpy robe, her back tous, oils up her hands sensuously near the window. MASSEUSE (German accent) Please to take off clothes, Mr. Corvin.Corwin gets under the sheet, on his stomach. Themasseuse turns around, and now we see that it's Alex.Alex starts to work on his back. She is clearly anexpert at this. This is a legit place, but there'ssomething undeniably sensual about the whole experience. ALEX You're carrying a lot of tension along ze fourth und fifth vertebrae. Let me see if I can vork it out.Under the table, we look up to see Corwin's face in thecradle. He's in a tortured rapture.Alex works along Corwin's back and neck. She pulls hisarms out to the side. ALEX (CONT'D) The human body is an amazing instrument. Just by activating ze right energy points, you can improve ze circulation, alleviate pain, or...Corwin goes limp. ALEX (CONT'D) (losing the accent) ... knock a man unconscious.Confident Corwin is out cold, she slides the key strapoff his wrist.INT. EXECUTIVE LOCKER ROOM - DAYMaking sure she's alone, Alex uses the key to open alocker. She carefully sorts through Corwin's things,finding his Palm Pilot organizer. She clicks it into aspecial device, which BLIPS as it downloads all hisinformation.Putting the Palm Pilot away, she shuts the locker.INT. MASSAGE ROOM - DAYCLOSE ON Corwin as he suddenly wakes up, disoriented. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 21.CONTINUED:Just when we think Alex's plan has failed, we TILT UP tosee Alex is right there. She's massaging him. ALEX You must have dozed off.A beat. Yeah, he must have. A patented ANGELS FLIPleads us to... CUT TO:INT. NATALIE'S EXCELLENT CONVERTIBLE - DAYThe Angels are all in the car together, cruising downSunset Boulevard. Dylan drives, Alex in the passenger seat,Natalie in the back seat with her computer on her lap. NATALIE Can you not drive my car so fast, Dyl? I'm trying to type. DYLAN (to Alex, under her breath) I drive too fast. Look who's talking.She pulls into an In N' Out Burger, right up to the drive thru. DYLAN (CONT'D) Three double doubles, animal style. Fries. Three chocolate shakes.While they wait for their order, Natalie punchessomething up on her computer. NATALIE Here's Corwin's itinerary.ONSCREEN -- we see a list of all Corwin's plans for thenext week. Two events in particular stand out: TUESDAY NIGHT -- INVESTOR RECEPTION, BILTMORE HOTEL THURSDAY -- SAN DIEGO RACEWAYDylan glances over the schedule. DYLAN Alright, we'll hit the reception tonight. I only wish we had a clue to go on.The food comes, Dylan takes it. NATALIE Hold that thought. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 22.CONTINUED:Natalie goes back to the computer again, slipping a CDinto the drive. Dylan hands out the food, spilling a lotof it. A big glop of chocolate shake lands on thekeyboard. NATALIE (CONT'D) Uh, hello? Expensive equipment. DYLAN Sorry.Natalie licks the shake off her fingers, tapes away atthe keyboard. NATALIE Check this out. New program I just got from a friend in the Bureau. We take that footage from the kidnapping...On screen, the footage downloads from the CD, into theprogram. Natalie fast forwards through it until shecomes to a shot of one of the kidnappers where his maskis partly pulled away from his face. NATALIE (CONT'D) ... isolate the part of the suspect's face that's revealed, then retriangulate his bone structure...The program zooms in on the revealed part of his face,then runs a series of calculations. A new drawing startsto appear. NATALIE (CONT'D) ... and voila! We've got a composite.Natalie's portable printer spits out a simulatedcomposite of one skinny, bad-looking dude. Dylan grabsit, looks it over. DYLAN Sweet. Now we've got someone to look for.She hands it to Alex to inspect. ALEX Oh yeah. He'll be easy to spot with that open head wound.She turns the composite around, revealing that Dylan hassmudged his head with ketchup.They all just have to laugh. WIPE TO:CHARLIE'S ANGELS - 8/18/99 23.INT. BILTMORE BALLROOM - DAYA sophisticated reception is in full swing, an ocean ofsmart suits and power ties.Dressed as a catering waitress, Natalie carries a tray ofhors d'oeuvres. MOVING WITH her, we pass ROGER CORWIN, whotalks with another suit, and further on, a conservatively-dressed DYLAN who chats up a group of WALL STREET TYPES. DYLAN The average investor sees technology stocks as discrete entities, "This one is up 50 points, this one is down 10." It's only through derivative analysis that one sees the real power of that sector.A few nods. She makes a good point. BROKER GUY Which analysis method do you prefer?On Dylan. Shit. She tries to stall... DYLAN Well, there are so many options. I mean, who can say what the one best choice is?ACROSS THE ROOMStill walking, Natalie talks to no one... NATALIE Keppler-Wilson.BACK WITH DYLAN DYLAN For my money, Keppler-Wilson is a strong choice.More nods, ad-libbed agreement. The Broker Guy is impressed.Excusing herself, Dylan turns and subtly touches her ear,where she's wearing a hidden radio. DYLAN (CONT'D) Thanks.AT THE BARNatalie loads champagne flutes onto her tray. NATALIE Anytime. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 24.CONTINUED: MAN'S VOICE (O.S.) Anytime what?She looks up to see a very cute bartender, PETE (26).She didn't realize he was so close. NATALIE (covering) Anytime, day or night, I am... excited ... to be handing out champagne.Oh God. What did she just say? But he smiles anyway.She heads back out into the crowd. You can almost seethe big L on her forehead.BY THE FOUNTAINDylan has been watching this. We INTERCUT between herand Natalie. DYLAN He's cute. NATALIE I'm working. DYLAN Sixty-five percent of relationships begin in the workplace. NATALIE He's a bartender. I need dependable. I need reliable. I need a Volvo man.Natalie walks past Dylan, not acknowledging her. Dylansnaps her fingers. NATALIE Miss! Miss! I'd love some champagne.Natalie comes back, a little annoyed. Dylan takes aglass for herself, then foists the other glasses oneveryone around her, whether they wanted it or not. DYLAN (CONT'D) (to Natalie) Why don't you get some more?She nudges Natalie in that direction.AT THE BARWe TILT UP from a Japanese comic book to Pete. Hesuddenly realizes Natalie is waiting for him. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 25.CONTINUED: PETE Sorry.He starts filling more flutes. NATALIE What are you reading?He holds it up. NATALIE (CONT'D) That's the new Michio Kazura. That's not even out in America. PETE You know Michio Kazura? NATALIE Hello? Warriors of the Broken Earth? Classic. PETE I know. I just moved back from Tokyo. It was the biggest thing since Haikiri Nomura. NATALIE Tomuru nasgawa ishi Tokyo sen! PETE Nagada quing-gong ni. Ni zeru.Imagine that. Natalie takes her tray and reluctantlyheads off.ON DYLAN DYLAN Ask him out. Ask him out.ON NATALIEShe turns and heads back. NATALIE I'm Natalie. PETE Pete. Good to meet you. NATALIE Listen, there's an animation festival at the Egyptian this week. I was wondering if you might want to... PETE Tomorrow night? Eight o'clock? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 26.CONTINUED: NATALIE I'll meet you there.ON DYLANShe smiles, hearing the deal close. Pushing through acluster of investors, she bumps into a THIN MAN. DYLAN Pardon me.He doesn't respond, but something about this man raisesher suspicions. Where has she seen him before? As hemoves out of earshot... DYLAN (CONT'D) Natalie. Nine o'clock. Thin man.ON NATALIE NATALIE I'm on it.Spotting the Thin Man, she heads his way. NATALIE (offering) Vegetarian spring roll?He waves her away, no. Oops, she drops a napkin in frontof him. She kneels down to get it.As we move in VERY CLOSE ON her tray, we see that there'sa tiny Digital display. A metal detector is built intothe rim.It BLIPS as she moves past his ankle. And again as sherises up past his chest. The man just keeps walking. NATALIE (CONT'D) (to earpiece) Two guns. One ankle, one shoulder. DYLAN You call it. NATALIE You take point. I'll circle behind. DYLAN Copy.INT. HALLWAY - DAYThe Thin Man is headed down the hall. Looking back, wesee Dylan enter from the ballroom. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 27.CONTINUED: DYLAN Excuse me?He doesn't turn back. DYLAN (CONT'D) Excuse me, do you know which way the ladies' room is?The man takes a sudden right into a service hallway. DYLAN (CONT'D) Why do they always run?She slips off her heels to give chase.INT. SERVICE HALLWAY - DAYThe Thin Man comes around the corner. We stay TIGHT onhim, until he suddenly stops.NATALIEhas come around from the other side. His bad guy instinctstell him these women are working together. He's boxed in.And then, a DING!Elevator doors open beside him. He looks in to see the clue-less BELLBOY, who had a funky groove going on his headphones.In a single motion, the Thin Man yanks the guy out into thehallway and takes his place. Hits the button.From opposite directions, Natalie and Dylan run to theelevator, but the doors have already shut. Checking thepanel. DYLAN He's going down.They take the stairs.INT. BASEMENT SERVICE HALLWAY - DAYNatalie and Dylan emerge from the staircase to find theelevator empty. To the left, exit doors swing tellingly.EXT. DOWNTOWN LOS ANGELES - DAYNat and Dylan smash through the exit doors and out intothe sun-drenched streets of beautiful, downtown LosAngeles. Natalie immediately spots the Thin Man, bookingdown the alley. NATALIE That way. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 28.CONTINUED:And they take off after him.What ensues is the fastest, wildest, two chicks and oneguy foot chase you've ever seen. Here are some highlights:-- Thin Man pulls himself, clumsily, over a chain linkfence. Dylan and Natalie pull an old Jackie Chan trickand run up the side wall and hop over easily.-- Thin Man, still on foot, waits for traffic to slow,then darts across the Harbor Freeway. By the time Dylanand Natalie get there, traffic is roaring again.Undeterred, they make their way through, tucking androlling under the wheels of a moving semi.-- Dylan is racing down an alley, when a car comes barrellingat her. She leaps up onto the hood of the car as it drivesunderneath her, a la one of those That's Incredible! stunts.-- They chase the Thin Man into an industrial laundromat.The scene goes something like this:INT. INDUSTRIAL LAUNDRY ROOMThunderously LOUD, with industrial washers and dryers operatingat full tilt. Natalie and Dylan are just entering whenTHREE SHOTSring out. They dive for cover behind a massive washerassembly. NATALIE There are times I wish we carried guns. DYLAN Where's the challenge in that?ANGLE ON the Thin Man, planning his next move. With nogood shot at the angels, he aims high, both guns BLAZING.He shots out the pipes over their heads, sending down acascade of hot water.Dylan and Natalie scramble back to avoid getting scalded.Other pipes SHATTER from the change in pressure, leadingto an interior thunderstorm. Steam fills the room as aninch of water grows on the floor.Natalie and Dylan push rolling laundry carts in the ThinMan's direction. He shoots at them, but quickly realizesthey're just trying to waste his bullets.Holstering one of his guns, he dials his cell phone. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 29.CONTINUED:On the far wall, Natalie switches on the overhead hooks,which circle on a wire like a ski lift. The Thin Manlooks up, distracted, not noticing --DYLANAs she creeps up behind the cover of the rolling laundrycarts. She's succeeded in circling behind the Thin Manas he talks on the phone.She clears her throat. The Thin Man turns. She kickshim in the jaw.Knocked back, he drops the phone, which CRACKS and slipsunder a washing machine.He crab-walks back, then suddenly springs back to his feet.We weren't expecting that kind of ninja move out of this guy.HE TURNS TO SEENATALIEright behind him. With a coiled towel, she grabs his gunarm and expertly flips him. But he reacts smoothly, rollingover to charge at Natalie, picking her up like a sack ofpotatoes. As he does, he grabs her right in the tit. NATALIE Hey! Hands off, assh....Before she can finish her sentence, the Thin Man throwsNatalie at Dylan, knocking them both down. He jumps up,and with a single motion grabs an overhead pipe and kicksanother, releasing a wall of steam -- we can't see a thing.By the time the fog clears, the Thin Man is long gone. NATALIE Okay, to summarize? Damn.Lying down in the water, Dylan reaches under the washerto fish out the Thin Man's busted cell phone.INT. TOWNSEND AGENCY BACK ROOM - DAYNatalie sits at a glowing computer monitor, the ThinMan's cell phone connected by a data cable to theTownsend Agency computers. Rapidly touching the screen,she calls up a list of the last thirty-five phone callshe received. They're all from the same location. BOSLEY Well. That was easy. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 30.CONTINUED: NATALIE No, it wasn't.She points to some code next to the numbers. NATALIE (CONT'D) I've seen this before, he's scrambling his calls through a secondary location. BOSLEY In English? NATALIE We need to tap this phone line at the source, THEN we'll know where his calls were coming from. DYLAN (checking out the numbers) 503? That's not local, where is it? NATALIE Bos, can we check a directory? ALEX Don't bother. I know where it is. I used to spend every winter there.As she says it... CUT TO:EXT. ASPEN - NIGHTThe sign says it: Welcome to Aspen.VARIOUS ESTABLISHING SHOTS of the gorgeous mountain town,still somehow quaint despite its astonishing wealth.EXT. COWBOY BAR -- NIGHTA rowdy establishment just outside of town.INT. COWBOY BAR -- CONTINUOUSThe kind of place that rich weekend skiers don't come.Lots of over-aggressive, cowboy-biker types, drinking morethan they should. There are only a few women in the place,and they are either waitresses or biker chicks. Suddenly,everyone stops what they're doing and turns to the door.CHARLIE'S ANGELS have entered the room. Dressed in theirstylish ensembles, they couldn't possibly look more out ofplace. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 31.CONTINUED: NATALIE Hey look! Mechanical bull. DYLAN Eyes on the prize, Nat. We gotta tap the phones. ALEX That looks like our target.She points to a door at the back of the bar that leadsinto a glassed-in office. Two, beefy bouncer types are guardingthe door. ALEX (CONT'D) I'm gonna need a distraction.Dylan and Natalie smile at each other. DYLAN I think that can be arranged.The Three Angels split up, Bosley tagging along with Dylan.DYLANsidles up to the bar. A group of three rednecks aredowning shots, one after another. DYLAN (CONT'D) Three shots of tequila, please. (Bosley whispers in her ear) And one Tom Collins.The rednecks stare at Dylan, drooling. Dylan turns to the firstone. REDNECK Hey baby, why don't you ditch that stiff and come sit on ma lap?Bosley tries to make himself small. DYLAN Ooh, that is an enticing offer. But I got a better idea. How about a shot contest? My treat?The three rednecks hoot and holler. DYLAN (CONT'D) Okay, I'll take that as a yes. Bartender? Bring ten shots of tequila over to my table. And keep em coming.BY THE MECHANICAL BULL (CONTINUED)CHARLIE'S ANGELS - 8/18/99 32.CONTINUED:A group of wanna bes are waiting their turn at themechanical bull. Natalie wanders over behind them. NATALIE Mind if I try?The crowd parts for her, and Natalie hops up on the bull.She cranks it up, and letsBY THE BAR --Dylan downs a shot, slams it on the table. Countlessother glasses surround her.REVEAL that two of the rednecks are down for the count, onefalling out of his chair, the other passed out on the table.The third redneck is slurring badly, trying to keep upwith Dylan. DYLAN Hey, I've got an idea. Now let's have a chair throwing contest. REDNECK Hunh? DYLAN Chair throwing? Never heard of it? You just pick up your chair and throw it as far as you can.The redneck nods, lifts up his chair and heaves it acrossthe bar.OKAY, HERE'S AN OUTLINE OF WHAT WILL HAPPEN IN THE REST OFTHIS SCENE:Dylan and Natalie create a distraction, while Alex sneaksinto the back office with Bosley to get the phone numberof the chalet.EXT. HIGH MOUNTAIN ROAD - NIGHTA VW van climbs the winding road. As we get closer, we see theside reads, "Chalet Grams."A DING-DONG DING-DING-DONG doorbell rings.INT. MOUNTAIN HOUSE / GREAT ROOM - NIGHTTWO THUGS with shoulder holsters look up, hearing the bell.One was tending to the fire. THUG ONE We expecting somebody? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 33.CONTINUED:Thug Two shakes his head.Checking his gun, Thug One grabs for his windbreaker.Puts it on over.EXT. FRONT PORCH - NIGHTThug One opens the door to find Dylan and Natalie dressedin Swiss Miss outfits, complete with blonde braids. DYLAN Guten Tag! NATALIE (correcting Dylan) Guten Morgen! DYLAN (correcting Natalie) Guten Nacht! DYLAN AND NATALIE (to each other) Guten Freund!The girls lean in and hug each other, butts sticking out.To the left, Bosley starts playing oommpa OOMMPA oommpaOOMMPA on a wrap-around tuba. He's wearing lederhosen,with a feather in his hat.Natalie begins to YODEL.Dylan hands a fancy envelope to the bewildered thug. ThugTwo is approaching from behind, curious what the hell isgoing on.Dylan begins to TALK-SING a song in German about a too-curious goat and his worried mistress. Even with the pantomime,we have no idea what's happening. It seemswholesome, but occasionally one of the girls touches theother in a weirdly coquettish, oddly sexual way.Thug Two looks at the address on the envelope. THUG TWO (low) They got the wrong address. THUG ONE Shut up.As the angels continue their routine, the CAMERA RISES,three quick cuts to take us to...CHARLIE'S ANGELS - 8/18/99 34.EXT. THE ROOF - NIGHT... where a black cat-suited Alex stands at thechimney... A ribbon of smoke curls from the stack.Pulling the pin from a canister, she drops it down thechimney.INT. MOUNTAIN HOUSE GREAT ROOM - NIGHTA cheerful fire burns in the over-sized fireplace. Thecanister drops into the flames from above, suddenlyventing a HISSING cloud of halon gas. The fire diesimmediately, the logs covered with a violent frost.INT. THE CHIMNEY - NIGHTAlex doesn't even need a rope. Her feet pressed to thesooty walls, she expertly slides to the bottom.INT. GREAT ROOM - NIGHTAlex backs out of the fireplace to find a WAITING BAD GUYswingingA FIREPLACE POKERat her head. She ducks just in time. The poker CHINGSagainst the stone, making a spark.Rolling, jumping and diving, Alex scurries as Pokermanslashes and stabs. She ducks behind a chair, whichPokerman catches with the hook, winging it across theroom.Backed against the wall, Alex yanks on the heavycurtains, pulling them down, along with the woodencurtain rod. A spin, a flourish of velvet and thecurtain rings drop off to leave her with a trustyquarterstaff.She goes on the offensive. Thrust, parry, spin.But he's a worthy adversary. One good karate kick breaksher staff in two. She uses both pieces to club him inthe knees, then rolls back to the fireplace.She grabs the remaining tool: the fireplace tongs.Pokerman swings. Alex catches his weapon in the tongscissors, yanking it free with such force the point sticksin the wall.A quick kick knocks Pokerman to the floor, where Alexrolls on top of him. She catches his head in the tongs,squeezing his temples. His eyes bulge. ALEX Where's Knox?CHARLIE'S ANGELS - 8/18/99 35.INT. WINDOWLESS ROOM - NIGHTYoung billionaire ERIC KNOX paces. He's grungy, withtwo days of stubble, but still a darn attractive guy.Hearing a KICK at the door, he turns.A second KICK blows the door open. It's Alex. KNOX Who are you? ALEX The calvary. Giddy up.EXT. FRONT PORCH - NIGHTBosley is about to hyper-ventilate on the tuba, sweatyand a little blue.Dylan and Natalie's new song has them sharing the saddleof an imaginary horse. When Dylan reaches back to slapthe "horse," she hits Natalie in the rump. Both womentee-hee.The thugs think it's pretty hot.Dylan whispers a secret to Natalie. Natalie WHISPERSback.Turning to the thugs, they each lean in to WHISPER intoa different thug's ear. As the men smile, the angelssuddenly BONK the two men's heads together. Both menfall, knocked out.Stepping over the bodies, Dylan heads inside.INT. MOUNTAIN HOUSE HALLWAY - NIGHTLooking for the way out, Alex leads Knox to a closeddoor. She opens it to find...INT. TV ROOM - NIGHT... TWO MORE THUGS sitting in front the big-screen TV,watching a college basketball game (Duke vs. Maryland,in case you care.) The guards look back, spotting Alexwith Knox.That wouldn't be so bad, if it weren't for theFIFTEEN OTHER THUGSwatching the game with them.ANGLE ON Alex. It's an oh-shit moment. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 36.CONTINUED: ALEX Sorry. Wrong room. (to Knox) Back! Run!The thugs are out of their seats a moment later, each ofthem pulling out a firearm.EXT. FRONT PORCH - NIGHTHolding down three keys on the tuba, Bosley talks intothe mouthpiece. It has a secret radio. BOSLEY Alex, what's your status?INT. STAIRCASE - NIGHTRunning, Alex pushes Knox ahead of her, checking theirbacks. She talks into a wrist-mic. ALEX Good news: I found Knox.Another THUG steps out in front of her. She kicks himdown the steps. ALEX (CONT'D) Bad news: I found company.Reaching the bottom of the steps, Knox is surprised to begrabbed by Dylan. DYLAN This way.At this point, he'll do whatever they say.EXT. FRONT OF MOUNTAIN HOUSE - NIGHTDylan rushes Knox across the driveway to the waiting van-- Natalie is pulling it around. Overhead, brightsecurity lights switch on.Back at the front door, Alex pulls it shut. She attachesa carabiner clip to the handle, running a thin steel cordfrom it around the porch column.INT. FOYER - NIGHTThe first of the thugs reaches the door, tries to pull itopen but can't. The next few guards try to help him,while the rest start smashing through the windows.CHARLIE'S ANGELS - 8/18/99 37.EXT. FRONT OF MOUNTAIN HOUSE - NIGHTRunning with the tuba, Bosley stops for a moment to catchhis breath, hands on his knees. Okay, ready to runagain.He's the last to be pulled into the van. A spray ofgravel and they're off.INT. THE VAN - NIGHTEveryone is piled on top of each other. Dylan and Knoxhave a few awkward moments as they get untangled. Bosleykeeps making inappropriate TUBA NOISES.At the wheel, Natalie is fierce and focused, in totalcontrol.Looking out the back windows, Alex sees the kidnapperspiling into jeeps to give chase. From the side of thehouse, more thugs appear on motorbikes. ALEX They're coming after us. DYLAN (to Knox, confident) We were expecting that. NATALIE Okay, new problem.Everyone's attention WHIPS FORWARD to see the headlights ofGIANT LOGGING TRUCKcoming up the high mountain road. It straddles thecenter line, blocking both directions. There's no wayaround it. NATALIE (CONT'D) Thoughts, suggestions, points to consider? BOSLEY I don't suppose giving up would be a...No, it wouldn't. Then -- DYLAN Right! NATALIE There is no right. DYLAN There! (CONTINUED)CHARLIE'S ANGELS - 8/18/99 38.CONTINUED:She points to a faded "CLOSED" sign that hangs from achain. In the darkness, who knows what it's blocking.But as we hear the THUNDEROUS HORN from the oncomingtruck, we know there's no choice.Natalie cuts a hard right, SMASHING through the sign.The van THUMPS AND BUMPS its way across the low grass,its headlights only showing ten feet ahead. At anymoment, the ground could stop in a cliff.Like now.The van leaps into empty space. Tires spin, helpless.The van falls.Everyone SCREAMS. Bosley is the loudest.And then, touchdown. The van hits the ground, hard butnot catastrophically. Natalie hits the brakes, cuts thewheel hard to avoid hittingA CONCRETE WALLin front of them. Everyone takes a beat to acknowledgethey're alive. DYLAN Where are we?Suddenly, a BRIGHT LIGHT goes on overhead.EXT. THE MOUNTAIN - NIGHTOne by one, a series of arc lights switches on, forming asnake all the way to the bottom of the mountain.INT. THE VAN - NIGHTLooking out the back windows... ALEX It's a bobsled run.They're facing backwards.Up ahead, the kidnappers are charging down the access roads.The first of two jeeps makes the jump into the bobsled chute. NATALIE If it goes down the mountain, that's all I need.Throwing it into reverse, Natalie peels out.The jeeps follow.CHARLIE'S ANGELS - 8/18/99 39.EXT. BOBSLED RUN - NIGHTThe VW Van leads the way down the mountain, tail-first.As it builds speed, it starts to climb the wall, each turngetting steeper and steeper.The two jeeps are following. Facing the right direction,they have a much easier time of it.INT. VAN - NIGHTEverything is shaking so violently, it looks like a NASA launch. ALEX (looking out the back) Hard left! HARD LEFT!Natalie makes the turn. The van rises up, nearly tiltingover. But they make it through the turn. KNOX (to Dylan) Is this part of the plan? DYLAN Yes. Except for the bobsled run, and the backwards part, it's going exactly according to plan.A beat. He smiles at her. He has a nice smile.EXT. BOBSLED RUN - NIGHTOne of the jeeps makes a move, closing the distance tothe van. A RIFLEMAN leans out the passenger window,lining up a shot. He FIRES.INT. THE VAN - NIGHTThe shot blasts cleanly through the top of the windshield,through the horn of Bosley's tuba, then out the back window. Itmissed hitting somebody by millimeters.Natalie is still focused, making each turn as Alex calls it.EXT. BOBSLED RUN - NIGHT`The front jeep gets even more aggressive, building speed.It hits the next turn too fast, rising up too high alongthe wall. It tips further, and further, finally rollingover onto its back. It SCRAPES across the concrete, ashower of sparks as it slows down.With nowhere to go, the second jeep brakes hard, but can't stop.It SMASHES into the first jeep, a tangle of steel. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 40.CONTINUED:The combined mass continues sliding down the run, like ajagged pinball in the chute.INT. THE VAN - NIGHTDylan looks out through the windshield as the jeep combo recedesfarther and farther away. DYLAN I think we're in the clear.Just then, two MOTORBIKES race up along the chute walls, passingthe crippled jeeps. Two more MOTORBIKES jump in from above. DYLAN Or maybe not.Suddenly, Natalie GASPS, remembering something. NATALIE Oh God, no. DYLAN What is it?WHIP CUT TO:EXT. EGYPTIAN THEATRE - NIGHTA dejected Pete stands in front of the sign for the animefestival, two tickets in hand.WHIP BACK TO:INT. THE VAN - NIGHT NATALIE I have a date with Pete. Right now. DYLAN Ouch. ALEX HARD RIGHT!Natalie makes the hard right. The motorcycles are gaining onthem, but Natalie and Dylan have to talk through this first. DYLAN Call him, he'll totally understand. NATALIE "Gee, sorry Pete. I had to rescue a billionaire." (CONTINUED)CHARLIE'S ANGELS - 8/18/99 41.CONTINUED: ALEX Hard left!She makes the left. NATALIE I'll sound like a flake. I can't stand flakes. DYLAN He will so give you the second chance. NATALIE You think? DYLAN Hello, I saw the way he looked at you.One motorcycle charges, coming up just feet from thewindshield. Natalie taps on the brakes. The freaked outguy can't slow down in time. He SMACKS into the windshield,then goes flying. ALEX We're at the bottom!Indeed, we are. The concrete walls end, leaving open ground.Slamming on the brakes, Natalie turns the van around.Everyone goes flying. Bosley is still on the phone withCharlie.EXT. BASE OF THE MOUNTAIN - NIGHTBack facing the right direction, the van charges onward.The motorcycles race up to the passenger side, grabbingfor the door.INT. THE VAN - NIGHTDylan SLAMS open the door, knocking one RIDER off.The sliding door opens, another RIDER outside trying to getin. Thinking fast, Knox grabs Bosley's tuba and shoves itat the motorcyclist, who tumbles, taking out the fourthrider in the process. DYLAN (genuinely impressed) Well done. KNOX Thanks. CUT TO:CHARLIE'S ANGELS - 8/18/99 42.HELICOPTERthunders over. We are...INT. THE HELICOPTER - NIGHTNatalie is at the controls, Bosley beside her. Alex leansforward from the second row. BOSLEY I think that went very well. Charlie should send me on more missions. ALEX We couldn't have done it without you, Bos.Natalie pats him on the arm. She and Alex exchange a quickglance. They have to just laugh.In the back row, Knox is looking out over the gorgeous lightsof Aspen. DYLAN Cocktail?She offers him an airplane-sized bottle of Johnnie Walkerblack. He takes it and toasts. They both down their drinksin a single shot. A smile, and then...MUSIC rises.THE ANGELS TRIPTYCH descends.The act is over. After a beat, weWIPE TO REVEAL:EXT. CHARLES TOWNSEND DETECTIVE AGENCY - DAYRe-establishing.INT. CHARLES TOWNSEND DETECTIVE AGENCY - (THE NEXT) DAYCharlie is on the speakerphone. The angels are in theirusual lounging positions. CHARLIE'S VOICE Good work, Angels. Not only did you save Knox, you saved his company as well. DYLAN I think that earns us a vacation. NATALIE Say, Fiji? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 43.CONTINUED: ALEX (to Natalie) Any special guy you were thinking of inviting?Natalie grins a guilty smile. CHARLIE'S VOICE Sorry, Angels. Our work is only half-done.Knox enters. Clean-shaven and neatly pressed, he's still adarn good-looking man. Vivian Wu follows him. CHARLIE'S VOICE (CONT'D) Meet your new client, Eric Knox. KNOX First off, thank you. You rescued me, for which I am eternally grateful.He's talking to all the angels, but his gaze seems to fallmost upon Dylan. She notices it. KNOX (CONT'D) But there's still a problem. Whoever kidnapped me wasn't just trying to screw up our IPO. They also stole the proprietary software for our new web browser. I'm sure it was Roger Corwin, but I need proof. CHARLIE'S VOICE That's where you come in, Angels.CIRCLING AROUND, we see the video images of Corwin and theRed Star Systems logo on the big screen. CHARLIE'S VOICE (CONT'D) We need to break into Red Star's computer systems to see if Mr. Knox's software is indeed being converted for Red Star's use. NATALIE Sounds like a plan. CHARLIE'S VOICE Not as easy as that, Natalie. Red Star's headquarters are as tightly guarded as a military facility. We're going to need reconnaissance on their mainframe computer system, and the best way to get that is through Mr. Corwin himself. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 44.CONTINUED:A video image of Corwin's Palm Pilot Schedule comes up thebigscreen. The shot pulls in close on "SAN DIEGO SPEEDWAY." CHARLIE'S VOICE (CONT'D) We need to pin a camera on him to get footage of the inside of the building. Thanks to Alex's work at the health spa, we know that Corwin will be at the San Diego Speedway on Thursday. Get close to him Angels, but don't tip your hand. ALEX Consider it done. CHARLIE'S VOICE Dylan, I need you to arrange for Mr. Knox's security. I'd hate to have him kidnapped again. DYLAN Absolutely. But we'd all feel safer if you could join us, Charlie. CUT TO:UNDERWATERFrom Charlie's P.O.V., looking up at the sunlight. Threemanta-rays swim above us.We can hear the BUBBLES from Charlie's regulator. CHARLIE I'd love to Angels. But I'm in a bit over my head at the moment.A manta-ray swims past, super-close, letting us... WIPE TO:EXT. KNOX HOUSE - DUSKA majestic craftsman in the hills, Frank Lloyd Wright meetsconspicuous consumption.INT. KNOX HOUSE ATTIC - DUSKA flashlight beam sweeps past, revealing Dylan. With justher shoulders above the rafters, she's checking a dustycrawl space. She finds nothing suspicious.INT. KNOX'S WALK-IN CLOSET - DUSKKnox stands below, Dylan's boots on his shoulders. The heelsdig in a bit, but he's not complaining. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 45.CONTINUED: DYLAN We're good.He moves to help her down, but she does a reverse-pullup tohandle it by herself. She leads the way...INT. KNOX'S BEDROOM - DUSKThe room is huge. Through the floor-to-ceiling windows, we seethat we're up in the hills.Knox follows her as she walks. DYLAN I've got surveillance on all the windows. Don't answer the door, don't answer the phone.We continue...INT. KNOX LIVING ROOM - DUSKJust as big, just as beautiful. Knox, or his decorator, hasgreat taste. Everything is top quality, but unpretentious. DYLAN Also, stay away from the windows. KNOX They're bullet-proof. The last owner was paranoid. DYLAN (a smile) Lucky for us.She takes a marker-sized device off the table. DYLAN (CONT'D) This is a panic button. (tosses it to him) Press it and one of us can be here in ten minutes. KNOX Which one of you? DYLAN Whoever's closest.She takes her jacket off the couch, ready to go. KNOX I have a better idea. DYLAN What? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 46.CONTINUED:He tosses her the panic button. KNOX Stay for dinner. (preempting objections) I'm a pretty good cook. DYLAN I can't Mr. Knox. I'm sorry. If you... KNOX (quickly) I'm scared.Dylan is surprised by this. KNOX (CONT'D) Look, I didn't want to admit it, but I am. I was kidnapped once, and it wasn't fun. I know, you probably have other plans, but it would be very reassuring.Dylan looks him over. Normally, she'd be suspicious, butthe guy WAS just kidnapped, and he seems sincere. KNOX (CONT'D) Come on, don't make me beg. I'm embarrassed already.She smiles. DYLAN Don't be.She throws her coat back on the sofa.INT. KNOX LIVING ROOM - NIGHTWe PAN OFF a half-played Scrabble game to find Dylan andKnox at the windows. Dylan picks up a family photo, Knoxas a little boy with a father in a military uniform. DYLAN That's you, hunh? Cute kid. Cute family. KNOX Thanks. (taking the photo) It's the only picture I have of me with my parents. They died a week later. DYLAN Oh. Oh, I'm sorry. I had no idea... (CONTINUED)CHARLIE'S ANGELS - 8/18/99 47.CONTINUED: KNOX Please, don't apologize. I was too young to understand. (looking at the photo) I never knew how they died. When I was a kid, when I got shuffled from one foster home to another, I always thought they just disappeared. DYLAN But...? KNOX I only found out later, my father was in the military. He and my mother were killed while he was on assignment, somewhere in Eastern Europe. (mostly to himself) The files were classified, but I read enough to know that he was a good man. Apparently, he was betrayed by one of his own team. DYLAN Wow. That's a lot for a kid to live with. KNOX Yeah, but it motivated me, losing my family. It still does. I don't take anything for granted.Dylan nods. DYLAN Boy did I have you pegged wrong. KNOX (intrigued) How do you mean? DYLAN Well, to be honest, I thought you were a rich kid who inherited everything. But that's pretty typical. I've got instincts for the job, but when it comes to men? Well... KNOX I'm glad you don't see me as just a client.He brushes his hand against hers. She brushes back, fingersagainst fingers. A long beat. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 48.CONTINUED: DYLAN Oh. Well, you ARE, so... KNOX Is there someone you need to be going home to? DYLAN No. (beat) But I...He kisses her. After a moment, she breaks off. It's not thatit was a bad kiss. It was a damn good kiss. It's just... DYLAN (CONT'D) I shouldn't.Knox moves towards her. KNOX Shouldn't you?Dylan holds him back. DYLAN (firmly) No. I shouldn't.She stands up. DYLAN (CONT'D) Thank you for dinner, Mr. Knox. And lock the door behind me.She gets up and leaves. CUT TO:FORMULA-ONE RACE CARSROARING past on the track. It's all thunder, smoke andasphalt. We are...EXT. SAN DIEGO SPEEDWAY - DAYWith a ROAR, another blur of racers whips past, with heatand noise and speed. The lead car bears the familiarmarkings of RED STAR INDUSTRIES. Roger Corwin is at thewheel, steering calmly to a comfortable lead, when he issuddenly BUMPED. CORWIN What the...? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 49.CONTINUED:ANOTHER BUMP sends him screeching to the left. He almostcrashes, then gets back on course, just as he's passed by...A SLEEK, BLACK CAR, sponsored by the SONY CORPORATION, andmanned by a mysterious driver with TEXAS TORNADO inscripted onthe helmet. We follow the black car as it pulls into the pit.EXT. FREEWAY PIT - DAYThe racer pulls off her helmet as the pit crew surrounds her.Of course, the racer is Natalie, aka BETTY LOU HOBERT, the TexasTornado. PIT BOSS (yelling over the engine noise) NICE RACING! (beat) CAN'T BELIEVE YOU'VE NEVER RACED THIS TRACK BEFORE! NATALIE (Texas accent) BACK WHERE AH'M FROM, WE RACE IN SWAMPS AND BACK ROADS! THIS ALL'S A PIECE A CAKE!Natalie shakes out her hair, winks at the pit boss.The Pit Crew races in to make repairs. DYLAN, dressed in apit suit, kneels by Natalie's front tire. Natalie crouchesdown next to her so they can talk. NATALIE (CONT'D) I nicked him. Should give you enough time to do the deed. DYLAN I'm on it.Dylan steals away, heading for...CORWIN'S PIT CREW --Corwin is seething mad as he pulls into his pit. CORWIN LET'S GO! WE'RE LOSING TIME HERE!The pit repairs his car as Corwin is approached by anotherracer, also wearing a Red Star racing suit. He leans intoCorwin's car and now we see that's it's... THE THIN MAN. THIN MAN You okay, Boss? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 50.CONTINUED: CORWIN No thanks to you! You're supposed to be my head of security! Who is that bitch?!The Thin Man peers over at Natalie, but she's got herback to him. THIN MAN Don't know. I'll keep an eye out. CORWIN Yeah. You do that.Corwin peels out onto the track again, almost crushingthe Thin Man in the process.AS CORWIN PULLS OUTDylan sneaks in. In all the cacophony, no one noticesas she grabs CORWIN'S SUITCASE out of the back seat ofhis regular car, a bitching Mercedes. She checks bothways to see if she's being watched. BOSLEY (O.S.) Coast is clear, Dylan. CUT TO:EXT. THE WINNER'S CIRCLEWhere Alex, dressed as a trophy girl, watches the racethrough binoculars and keeps an eye on her pals. Shenods to BOSLEY, who is dressed as the Flag Waver. Hespeaks into a walkie talkie. BOSLEY Let's make the switch.BACK IN THE PIT --Dylan pulls a briefcase out of her jumpsuit, and swapsit with one in Corwin's car. She carefully switches allhis files from the old briefcase to the new one, thengives Alex a thumbs up.MEANWHILE BACK IN THE RACE --NATALIE roars back onto the track, keeping Corwin in hersights. Then she spots another Red Star car, coming upright next to her. She locks eyes with the Thin Man.The two of them recognize each other at the exact sameinstant. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 51.CONTINUED:The Thin Man, realizing he's been made, jams on thebrakes and skids off to the right, which leads to a rampthat heads out of the stadium.Natalie, not wanting to lose him, does something crazy.Even though she's at the front of the pack, she brakeshard, swerves into a full 180 degree U-turn, and startsheading the WRONG WAY on the race track.Startled drivers pull off to the left and right as shefollows the Thin Man out of the racetrack.EXT. SPEEDWAY ACCESS ROAD - DAYTo a chorus of CAR HORNS, the Thin Man's blue racer weavesthrough the spectator traffic entering the speedway.Looking back, we see Natalie is gaining on him.Finally clear of the traffic, both cars let it rip. CUT TO:HELICOPTER VIDEO FOOTAGELooking down on a freeway, where a ubiquitous policepursuit is in progress. TV ANCHOR VOICE If you're just joining us, we're approaching hour five of a pursuit that has lead us all across the Southland, at speeds up to 80 miles an hour.A beat-up gray Chrysler leads a phalanx of police carsdown the empty freeway. It's oddly calm and hypnotizing. FEMALE ANCHOR VOICE Chuck, time and again we hear the question, "Why don't the police just ram the other car, or shoot out the tires?" The LAPD has a policy of hanging back and following unless...Suddenly, the blue Formula One car comes screeching pastthe cops and the suspect, over 200 miles per hour. TV ANCHOR VOICE What was that?INT. NATALIE'S RED CAR / ON THE FREEWAY - DAYStill hot on the Thin Man's tail, Natalie has the engineROARING. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 52.CONTINUED:As she passes the police cars, we see several OFFICERSlook over -- what the hell?Natalie catches up to the gray Chrysler. Looks over tosee the WILD-EYED SUSPECT, hunched over the wheel.He looks back at her. A beat later, she's passed him,just taillights on the freeway.EXT. FREEWAY - DAYWith the lanes cleared for the other chase, there isnothing preventing the Formula One cars from hitting topspeed -- which they do.Natalie is catching up to the Thin Man.As they head under an overpass, we see KIDS CHEERING.INT. BLUE CAR - DAYThe Thin Man checks his gauges. The gas dial is perilouslyclose to empty -- these cars are meant to be refilled often.Up ahead, he sees an exit. He starts to slow down...EXT. FREEWAY - DAY... but when you're going 200 miles per hour, that cantake a while. He misses the exit.Natalie is trying to match his speed.The Thin Man pulls over to the side, stops fully.Braking as hard as she can, Natalie still passes him.The Thin Man throws a U-turn, heading up the freeway on-ramp.Natalie follows.EXT. SAN DIEGO SHIPYARD - DAYWe catch glimpses behind fences and between train cars --the two racers gliding slowly down the narrow roads, likelions pacing.INT. NATALIE'S RED CAR - DAYPulling off her helmet, Natalie scans right and left forthe blue car -- she's lost sight of him. The narrowwindshields of these racers doesn't make it any easier.EXT. SHIPYARD - DAYWe LOOK DOWN on Natalie's car as she rounds a corner,still searching.CHARLIE'S ANGELS - 8/18/99 53.EXT. PIER - DAYNatalie spots the blue racer reaching the end of thelong pier. It pulls a U-turn to face her, then stops,engine idling. There's only way off the pier, and it'spast Natalie.The Thin Man REVS his engine.Natalie REVS hers.ANGLE ON a white seagull, pecking at something on thepier, halfway between the two racers. The bird looks up,hearing the engines.ANGLE ON the Thin Man. He pulls his harness tighter.REVS his engine higher.ANGLE ON Natalie. If it's a game of chicken he wants,she'll give it to him. She REVS her engine higher still.The noise scares the bird, who suddenly flies off. Likea flag being dropped, that's the signal for both racersto peel out.A cloud of SMOKE. Rubber on asphalt.Already reaching a tremendous speed, the racers are on acollision course. The Thin Man isn't going to turn away.Neither is Natalie.Racing faster, and faster still, there's only one waythis can turn out. But then, at the very last moment,the Thin Man wusses out. He cuts the wheel right,missing Natalie and careening off the edge of the pier.In SLOW MOTION, we watch as his racer hangs in mid-air,wheels still spinning. Back-heavy, the tail hits thewater first.Natalie brakes hard, cuts the wheel to avoid going offthe far end of the pier. She finally stops, the reartire just 1/4 inch from the edge.CRANING UP along the side of the pier, we find Natalielooking into the water where the blue racer went in.There's just a slick of oil and a steady stream of bubbles. CUT TO:VIDEO / CAMERA'S P.O.V.We see lots of hallways, doorways and security locks, allfrom the POV of a man's hip.The footage is from the camera in the switched briefcasethat Corwin is now carrying with him. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 54.CONTINUED:We PULL BACK from the video to see we are actuallywatching it...INT. CHARLES TOWNSEND AGENCY - DAY... on the big screen. The angels and Bosley watch thefootage, along with Knox and Vivian Wu. Vivian hasseated herself close to Natalie. So close, in fact, thatNatalie keeps having to shift a few inches.Dylan, meanwhile, sits across the room from Knox,deliberately avoiding eye contact.ON THE BIG SCREEN: As the videocamera passes a roommarked with an intimidating warning sign... KNOX There!VIDEO FREEZES. KNOX (CONT'D) That's the room with the mainframe. Everything at Red Star goes through that system. CHARLIE'S VOICE So if we want to find proof that Red Star stole Knox's technology, that's the computer to tap. KNOX Exactly. But they have heavy firewalls and encryption. You can't jack in from outside. You'll have to physically be in that room to get at the data. ALEX Even if we do get inside, there won't be time to search for it. There's got to be a hundred terabytes of information there. It could take days. NATALIE So you install a transmitter.All eyes go over to Natalie. NATALIE (CONT'D) Patch in directly to the relay, broadcast on a high frequency. That way, you can have access to the mainframe from the comfort of your own home. And they have no idea that you can peek inside. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 55.CONTINUED:Knox is impressed. The other angels nod. It's a good idea. VIVIAN WU That's all fine in theory. But you still have to get inside that room to install it. What about security? ALEX Red Star has a lot of Government contracts, so security is tight. Key- card badges throughout. Redundant security at all red-line areas with biometric scanners and weekly keycodes. Pervasive video surveillance, lasers, air-displacement sensors. Plus a hard- wired fail-safe at the relay to prevent exactly this kind of tapping. VIVIAN WU It sounds impossible.Alex checks with her fellow angels. They're in agreement. DYLAN It sounds like fun.With a subtle RUSH, we move into a stylized MONTAGE thatshows How They Do It. It features WHIP PANS, FREEZEFRAMES and ZOOMS to show us only the highlights. NATALIE (V.O.) Only the two directors can disengage the fail-safe. We have to get their keys.WHIP CUT TO:INT. NUDE NUDE NUDE GIRLS - DAYANGLE ON DIRECTOR #1, 40's, part of the lunchtime crowd.Alex and Natalie are on the catwalk, in the middle of agrinding routine. Paying for his drink, he fumbles withhis wallet. His waitress helps him find the right bill.As she walks away, we see the waitress is Dylan. FREEZE FRAME.We ZOOM IN on the orange key-card she's grabbed from him.EXT. BACK YARD BIRTHDAY PART - DAYANGLE ON Bosley, done up in full clown makeup. He triesto twist a balloon animal, but no luck. Finally it POPS.The CHILDREN CRY.Entertaining the ADULTS, magician Alex whips open her silkhandkerchief to reveal that the "item" has disappeared. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 56.CONTINUED:ANGLE ON DIRECTOR #2, who looks very worried. Magician'sassistant Dylan takes off her giant hat to reveal the director'sbillfold is underneath. Getting it back, he'srelieved.Passing behind Dylan, Natalie takes the orange keycardDylan hands off. FREEZE FRAME. ZOOM IN. ALEX (V.O.) Then we have to get back into Red Star. Problem is, their biometric sensors are too good. DYLAN (V.O.) We need someone's help. WHIP TO:EXT. STREET OFF MULHOLLAND - DAYANGLE ON Roger Corwin, driving his Mercedes. He slows,a road crew working ahead.ANGLE ON Dylan, dressed in an orange vest, manning theslow/stop sign. She makes Corwin stop, leans in toapologize for the delay.Behind the Mercedes, Natalie sneaks up. She quicklypicks the trunk lock, then quietly climbs in. She hoistsin a large duffel bag, then shuts herself inside.INT. TRUNK OF CORWIN'S MERCEDES - DAYWe HEAR the car moving again.Stripped down to a bra, Natalie attaches an illuminated mirrorto the underside of the trunk lid. Starts to pull more itemsfrom her duffel bag: black shoes, a dress shirt, a tie.EXT. RED STAR - DAYEstablishing. We see Corwin's Mercedes pull into theparking garage.INT. PARKING GARAGE / RED STAR - DAYWalking away from the car, Corwin hits the remote. TheMercedes BWOOPS.A beat later, a hand comes out from under the trunk lid.Natalie climbs out, only she's not Natalie anymore.She's become Corwin -- identical to the last detail.She tucks the last of the latex mask under her collar asshe walks. FREEZE FRAME.CHARLIE'S ANGELS - 8/18/99 57.INT. SECURITY STATION - DAYCorwin puts his right hand on the sensor grid. A laserscans it. Approved.The Security Guard hits the button, releasing the gate.He goes back to his magazine as Corwin passes through.A beat, then... A VOICE Tommy? You gonna let me through or what?Tommy the Guard looks up, sees Corwin is still at thecounter. TOMMY THE GUARD (confused) Oh. Yeah, sorry Mr. Corwin.He hits the button again, letting Corwin through. Tommygoes back to his magazine, still a little perplexed.INT. SECURE HALLWAY - DAYThe same places we saw on the videotape. Natalie-as-Corwin swipes the two stolen failsafe cards in a reader,sending the lights from red to green. FREEZE FRAME.She splices in a transmitter the size of a cigarette pack.Pulls up a tiny antenna. FREEZE FRAME.INT. SECURE HALLWAY - DAYCorwin walks down the hall, still talking with hiscolleague. Natalie-as-Corwin is walking right towardsthem. She turns away as she passes. He didn't even spother.She smiles. CUT TO:EXT. POSH BEVERLY HILLS HOTEL - DAYEstablishing...INT. RESTAURANT - DAYAs a group, the angels move through the upscale lunchcrowd to find Knox and Vivian Wu at a booth.Alex opens a slim Sony laptop, sets it on the table. ALEX It's done. Red Star's mainframe is open for business. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 58.CONTINUED:Astonished, Vivian Wu hits some keys, checking that whatthey say is true. DYLAN (to a passing waiter) Champagne, please. Your best.Smiling, Knox motions for them to take a seat. KNOX Now I know why I hired you. You're the best.A look between the angels. They know it's true. VIVIAN WU (to Knox, re: laptop) I'll have Systems get to work on this right away.She reaches for the laptop. Bosley snatches it away. BOSLEY Uh, actually Miss Wu, WE will get to work on this right away. Any evidence we find will be turned over to you AND the proper authorities. VIVIAN WU I don't think you understand how important that data is, Mr... BOSLEY Oh, indeed I do. And that's why I'll take very good care of it when I find it. VIVIAN WU (reaching for the laptop) But... KNOX Vivian, please. Do as the man says.Reluctantly, Vivian Wu pulls her hand away. Bosley tucksthe laptop into a steel briefcase, then stands. DYLAN Where you off to, Bos? BOSLEY Vacation. NATALIE Uh oh, lemme guess. You're off to chase bikinis at some tropical resort? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 59.CONTINUED: BOSLEY Exactly! Fire Island, here I come!Dylan does a spit take, the other two Angels roll their eyes. BOSLEY (CONT'D) Goodbye, Angels. Mr. Knox. (coldly) Ms. Wu.As Bosley exits the restaurant, Vivian Wu eyes himcarefully. Knox raises a glass to toast the Angels. KNOX More champagne? NATALIE Have to go. Plans tonight. ALEX Me too.As they get up... KNOX (to Dylan) And you?She notices the other Angels staring at her. She doesn't answerat first. DYLAN Um... well...Natalie quickly picks up what's going on. She glances atAlex, then clears her throat. NATALIE Hey Dylan, can we talk to you for a second?THE LADIES ROOMNatalie, Alex, and Dylan kibbitz near the sinks. NATALIE (CONT'D) There's something going on between you and Knox. Isn't there? DYLAN So what, so I like him. Is that so wrong? NATALIE Uh, yeah Dylan, it IS. He's a client. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 60.CONTINUED: DYLAN WAS a client. We finished the job. ALEX She's got a point. NATALIE What? She doesn't have ANY point, Alex, I can't believe you're siding with her. ALEX I'm not siding with anyone, but technically, he is no longer... NATALIE You know Charlie would NEVER approve of this. ALEX Oh come on, Charlie wouldn't care. I think you're just being overly cautious. DYLAN Uh, guys? GUYS!They turn to look at her. DYLAN (CONT'D) I'm a big girl. I make my own decisions. I'm going out with him.She walks out of the ladies' room. CUT TO:INT. PARKING GARAGE / BEVERLY HILLS - DAYBosley hums "In the Navy" to himself as he walks througha parking garage. He's alone in the echo-y garage, andeverything we know about movies tells us This Means Trouble.BWEEP BWEEP as his alarm shuts off. Just as he's aboutto lift the handle, he stops. Looks back over his shoulder.Did he hear something? He scans the empty garage. Noone in sight. Must've been his imagination.INT. BOSLEY'S MERCEDES - DAYBosley climbs in, shutting the door behind him. He'sputting the keys in the ignition, when...A HAND clamps a chloroformed rag over his mouth. It'sthe Thin Man. Bosley struggles, but in moments, he'sunconscious.CHARLIE'S ANGELS - 8/18/99 61.OUTSIDE THE CARTHE THIN MAN stuffs Bosley in the trunk, slams it shut,revealing... VIVIAN WU (O.S.) Sweet dreams.Vivian Wu, standing beside the Thin Man. She's holdingthe case Bosley refused to give her before. THE THIN MAN So, now we have the transmitter, what do we do with fat boy? Dirt nap time? VIVIAN WU NO! Not until I've got the information I need. We'll take him to the compound, hold him there. (beat) In the meantime, we've got to tie up some loose ends. THIN MAN Whenever you say something like that, it means more work for me. VIVIAN WU (ignoring him) The Angels will figure out they were duped. We can't afford them jeopardizing our plans. THE THIN MAN Here it comes... VIVIAN WU (coldly) We have to Kill Charlie's Angels.The Thin Man sighs, whips out his cell phone. THE THIN MAN Guess I'll cancel my weekend plans.And speaking of weekend plans... CUT TO:EXT. ITALIAN STREET - NIGHTJason and Alex are walking down a beautiful, tree-linedcobblestone street, holding hands. The buildings andoutdoor cafes are reminiscent of a quaint, vaguelyEuropean town. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 62.CONTINUED: JASON Alex, I can't tell you how happy I am you came. ALEX Me too. JASON No, I mean, it's weird. It's weirding me out how happy I am when you're around. Am I sick or something? ALEX (smiling) Got me. JASON The only bummer is, I start to jones when you're not around. What the hell am I gonna do this weekend, if you're not with me? ALEX We'll get you some sedatives. You'll be fine.He stops, takes her in his arms. With the moonlightshining down, it's very romantic. They kiss. Then... JASON Hey. Wait a second. Come with me! ALEX Come with you? JASON Miami, on the Sony Jet. I've got two tickets to the Final Four. ALEX Jason, I don't... JASON Wait, before you say no, let me just say something, okay? I'm sick of how little we see each other. I'm sick of stealing a day here, or a week there. ALEX It's my job, Jason. I can't explain it, but I have to be on call, all the time, and... JASON What if I changed all that? (MORE) (CONTINUED)CHARLIE'S ANGELS - 8/18/99 63.CONTINUED: JASON (CONT'D) What if I told you to quit your job, and come live with me. What I'm saying, Alex, is that I want you to...BLAM! BLAM! Gunshots ring out! ALEX Gunfire! Get down!Alex, in Angels mode, immediately throws him to theground and covers him. She feels something wet, looksdown to see Jason's chest, covered in blood. ALEX (CONT'D) My God, you're hit. You're... JASON Fine. I'm fine. (he laughs) They're squibs, it's fake. See?He wipes off a little, puts it on her tongue. Finallyconvinced, she almost lets herself laugh.REVEALthat we are in a soundstage, the cobblestones street isjust a set. The gunfire was coming from some effectsguys, who are test firing guns for the upcoming actionscene just outside the soundstage, visible through theopen loading door. JASON (CONT'D) Fake guns, too. They're just setting up for the next scene.He helps her up. ALEX Sorry about that, I... JASON (smiling) God, I loved that. The way you yelled and everything? Baby, you been watching too many movies. (he kisses her on the nose) Alright, I gotta go reset these. DON'T GO ANYWHERE. I want to finish this conversation.As he walks out of the soundstage, Alex is left behind,alone. She cleans herself off, shaking her head at herown paranoia. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 64.CONTINUED: ALEX Nice, Alex. Real nice.THIPP!A wall next to her sprays a cloud of plaster. Alex looksat the hole. That's strange.THIP, THIP!Two more little explosions, these barely missing her face. ALEX (CONT'D) Hey, is someone firing more squibs or...Suddenly, without warning, the wall is plastered withSILENCED GUNFIRE. It's only Alex's instincts that lether duck in time to avoid being turned into Swiss cheese.She tucks and rolls behind a Styrofoam set as...TWO GUNMEN with silenced SNIPER rifles fan out on thefake city street.ON ALEX --crouched behind a wall.She looks both ways. If she tries to break for the openloading door, she'll lead the gunmen right back to Jason.Only way out of here is to head for the far wall, all theway across the building, where there's a fire exit.Taking a deep breath, she darts across the fake street.THE GUNMENfire at her, one of them pulling off his silencer and goingto machine gun mode. The sound of the gunshots are coveredby the sound of the effects guy, test firing guns outside.ALEX --Sees that the sets are held up by wooden support beams.She lifts her leg and delivers a solid blow, cracking thetwo-by-fours in half.THE GUNMENmove slowly through the fake street set. Suddenly, theyhear a creaking sound. They look up to see the whole,fake building set collapsing!They dive out of the way, just in time to see Alex racethrough the fire doors.CHARLIE'S ANGELS - 8/18/99 65.EXT. BACKLOT - NIGHTAlex races out of the soundstage and jumps into her car,parked nearby. The Gunmen emerge from the stage and spother, just as she gets the car started. She peels out asa hail of gunfire just misses her windshield.EXT. OPPOSITE SIDE OF THE SOUNDSTAGEJason has just gotten his squibs refitted. He's facingthe opposite direction, so he doesn't see Alex's carwhizz away in the background.INT. SOUNDSTAGEJason walks into the Soundstage, followed by the effects crew. JASON Alex? ALEX?Of course, she's nowhere to be found. While he looksaround, one of the effects guys fingers a bullet hole inthe set wall. He presses against it and a FLATTENEDBULLET FALLS OUT.He thinks for a moment, then shakes his head. Couldn't be. CUT TO:INT. EGYPTIAN THEATRE - NIGHTA passing FILMGOER reveals Natalie and Pete. Seated nearthe aisle, they share a giant tub of popcorn. The moviehasn't started yet, but there's a slide show of variousanime heroes and villains. NATALIE Thanks for the second chance. I swear, I'm really not a flake.He shrugs it off. PETE How can I deny any woman who's seen all 23 "Lords of Wind and Power"? NATALIE I bet there's a dozen women here who fit that description.She's right. PETE Honestly -- there's a looks component as well. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 66.CONTINUED: NATALIE Really. PETE You're the most beautiful woman I've ever seen this close up.How can she not be flattered by that? She would saysomething back, but the moment has gotten so electrifiedthat each little glance just brings on more goofy-in-loveness.The only solution is to leave... NATALIE Ladies room. I'll be back in two minutes. PETE I'll be here.INT. LADIES ROOM - NIGHTA wee bit smitten, Natalie enters as the last WOMAN leaves.We hear just the DRIP DRIP DRIP of a faucet and the Muzakversion of Power Station's "Some Like It Hot."NATALIEIN A STALLNatalie shuts the door behind herself, then sets to workputting down a tissue-paper seat cover.SWEEPING ACROSS THE FLOORWe look under stall doors to find a pair of black men'sboots stepping down from inside. Natalie is not alone.IN HER STALLNatalie is about to hoist her skirt when she stops. HerSpider Sense is tingling.A DOOR LATCHCLICKS open. We TILT UP to see a WELL-DRESSED MAN. He'sat least 6'3".He stops at Natalie's stall door, drawing his gun. Abeat, then he KICKS the door open, revealing...AN EMPTY STALL.The automatic toilet FLUSHES itself. The Man takes ahalf-step in, confused. Suddenly -- (CONTINUED)CHARLIE'S ANGELS - 8/18/99 67.CONTINUED:The door swings back, SMASHING into his right hand. Hedrops the gun, looking up to seeNATALIE,Who is perched atop the stall walls. She pushed the doorwith her foot.Grabbing an overhead pipe, she performs an acrobaticswing, landing both feet on the guy's head. He fallsinto the next row of stalls.Natalie reaches for the gun, but the Man grabs her ankles.He pulls her back across the tile floor, flipping her over.That just makes it easier for her to kick him where it counts.With a scissors lock around his neck, Natalie is pulledup while the Man falls. She lands a knee on his windpipe. NATALIE Who do you work for?He tries to pull her off. She leans in harder. NATALIE (CONT'D) Speak now or never again. THE MAN (motioning with eyes) Jacket pocket.Suspicious, she digs inside his coat to pull out a leatherbillfold. Flips it open to reveal an I.D. that reads... NATALIE National Security Agency? You're with the NSA? THE MAN I've been following you. I didn't know which side you were on. (beat) This is bigger than you think.INT. MOVIE THEATER - NIGHTThe anime classic is playing. Pete keeps looking backtowards the door. He's been ditched again. Just when he'sabout to give up hope, Natalie is there. NATALIE I'm so sorry, but I have to go. I can't explain. (hands card) This is my cell phone number. Please call me tomorrow. Please. I'm sorry. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 68.CONTINUED:With that, she goes. A beat, then she comes back.Kisses him once, hard. Then goes for real. CUT TO:EXT. HOLLYWOOD HILLS - NIGHTDylan and Knox walk hand in hand up a quaint, woodsy pathbehind Knox's home. We can hear music drifting up fromthe hill in front of them. DYLAN Where's that music coming from? KNOX You'll see. Just a little farther.He helps her up a steep part of the path. As she comesover the crest of a hill. DYLAN Oh... (taking in the view) Oh wow.DYLAN'S POV --The hill behind Knox's house has a magnificent view rightinto the Hollywood Bowl. The music is the symphonyplaying something very romantic. DYLAN (CONT'D) That's amazing.They stand there, together, just listening to the music,Knox watching her reaction closely. KNOX Can I ask you a personal question? DYLAN Maybe. KNOX How much do you know about Charlie?Dylan seems surprised by this question. KNOX (CONT'D) I just find it strange that you work for a man you've never met. DYLAN Well, I don't know what he looks like, but I feel like I know him. We all do. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 69.CONTINUED: KNOX And none of you have any clue who he actually is? DYLAN Nope. KNOX And you're never curious to find out? DYLAN Of course, but believe me, it's impossible. I've tried. (beat) Let's not talk about Charlie, okay? Or work.She smiles t him, motioning for them to go back up toKnox's house. DYLAN (CONT'D) In fact, let's not talk at all. WIPE TO:INT. KNOX'S HOUSE - NIGHTDylan and Knox are asleep in his bed, when the doorbellCHIMES. Dylan bolts upright. She slips out of bed, peersout the window. Vivian Wu is waiting by the front door. DYLAN Eric, it's Vivian. KNOX Hmmm. I wonder what she's here for? DYLAN Want me to tell her to come back, or... KNOX No, no. I'd better deal. (he kisses her) You go back to bed.Knox pulls on a robe, goes downstairs.STAY ON DYLAN --as she pulls on her clothes, her CELL PHONE rings. Shegrabs it. DYLAN Hello? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 70.CONTINUED: NATALIE Dylan, we were set up. Vivian Wu is not who she says she is. She's a former assassin and an all around bitch. DYLAN Oh no. OH SHIT. Natalie, she's HERE! NATALIE What?! DYLAN I'm at Knox's, she just showed up!EXT. FREEWAY - NIGHTDriving her own highly excellent car, Natalie has it floored.INTERCUT NATALIE I'm ten minutes away. Wait until I get there. DYLAN I can't do that. Call Alex and meet me here. NATALIE Dylan...But Dylan's already hung up. Cursing her partner, Natalieraces the car even harder.INT. KNOX'S LIVING ROOM - NIGHTKnox is sitting at the coffee table, signing papers. Vivian,sitting across from him, has her cell phone open. They areboth surprised to see Dylan walk into the room. VIVIAN WU I see you take your bodyguarding services seriously. Still, I worry that no one is watching the door. DYLAN (covering) Oh, I'm watching it. In fact, I just called for back up.From her bag, Vivian pulls a silver 9MM. VIVIAN WU All the same, I'm concerned about Mr. Knox's safety. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 71.CONTINUED:Although Knox is clueless, it's clear the message Vivianis sending to Dylan. She's in control here.Vivian sets the gun on the table, in easy reach. KNOX (explaining) Vivian just came over to run through some numbers for the IPO. VIVIAN WU Please, take a seat. I'm almost finished.With a knowing glance at Dylan, she goes back to herphone call.No alternative, Dylan takes a seat beside Knox. Both faceVivian, whose hand is very near the gun.Dylan looks at Knox as he reads through his papers. He has noidea there's anything wrong. VIVIAN WU (CONT'D) (on phone) Really. How disappointing.Vivian gestures to the abandoned Scrabble game on the table.Why not play? DYLAN I'm not much for games. VIVIAN WU Pity.As Knox flips pages in the report, Dylan casually beginspushing Scrabble letters around, nothing serious. But she'smanaged to spell...ENEMYShe gets Knox's attention, looks to the word, up to Vivian.Knox follows her intention, but doesn't seem to believe it.While Vivian continues to talk on the phone, Knox sets hisreport down. Pushes around some letters of his own. Thewords finally come out as...I KNOWCLOSE ON Dylan. What does that mean?Vivian snaps her phone shut. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 72.CONTINUED: VIVIAN WU (CONT'D) (to Knox) Bad news: The other angels are still alive. Good news: Everything else proceeding apace.Dylan stands up. What the hell is going on?Vivian draws the gun on her. Knox moves over towardVivian's side. KNOX Sorry Dylan. I knew this moment would come sooner or later. I was just hoping for later.A long beat, Dylan trying to wrap her head around this. DYLAN All this time, we thought Red Star was behind this, but it was you. (realizing) You faked your kidnapping.Knox taps his nose. She's got it. DYLAN (CONT'D) Why? KNOX To gain your trust. And get your help. (beat) I want you to know, my personal attraction to you was a sincere and unrelated complication. DYLAN Oh, well, in that case I feel a lot better about you being a lying pole smoker.Dylan looks like she's about to leap forward and tear Knox'sthroat out. Vivian gestures for Dylan to keep stepping back. DYLAN (CONT'D) I can't believe I trusted you. KNOX Why not? You trust Charlie and you've never even met him.Dylan crosses the sill, out onto the balcony. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 73.CONTINUED: KNOX (CONT'D) And believe me, there's a lot about him that you don't know. Anyway, I'm not going to be an idiot and stand here talking when we could do something useful, like KILL YOU. Goodbye, Dylan, I'll miss you...How right he is, because as soon as Vivian squeezes thetrigger...Dylan drops to the floor, then rolls.BLAM!the bullet misses Dylan and slams into the bulletproof windowcausing a spider-web crack to spread. Dylan sees heropportunity and heads right for the window while Vivianpumps off shots.As she comes to the window, Dylan jumps up in the air anddoes a flying kick, hitting right at the spot where thebullet impacted.SMASH!The bulletproof glass shatters outward, and Dylan flies outthe window, onto the ledge. KNOX (CONT'D) Wow. (to Vivian) I've never seen YOU do something like that. VIVIAN WU Oh, shut up. CUT TO:EXT. BALCONY - NIGHTDylan looks over the edge of the balcony. The drop-off isincredibly steep -- the house is built on stilts -- and thefall looks like it would kill her. But she doesn't havemuch choice.KNOX AND VIVIANcome running out onto the balcony, just in time to see Dylanjump. They rush to the edge, look down into a forbiddingthicket of trees. VIVIAN WU She can't have survived. It's too far. (MORE) (CONTINUED)CHARLIE'S ANGELS - 8/18/99 74.CONTINUED: VIVIAN WU (CONT'D) (beat) Still, I should probably check...Knox shakes his head. KNOX We've got more important things to do.The two of them head back inside. As they do...We hold on the railing, then slowly start to drift down, tothe underside of the balcony. Dylan has attached her belt tothe bottom of the railing, and is hanging in the rafters. Asshe pulls herself back up... WIPE TO:EXT. AIRPORT -- NIGHTA black sedan pulls onto the tarmac. Knox and Vivian Wu emerge,then hustle into a waiting private plane.INT. ANGELS DETECTIVE AGENCYNatalie, Dylan and Alex nurse their wounds and compare notes. DYLAN I can't believe Knox tried to kill me. I mean, I've been lied to, I've been cheated on, but no guy has ever tried to SHOOT me before. (coldly) I'm gonna get him for that. ALEX He played us from the very start. It was all just so he could get us to tap into Red Star. He couldn't figure out a way to do it himself. NATALIE Who knew that we are actually tapping into the main servers for The National Security Agency? DYLAN And now, thanks to us, he's had hours to download whatever top secret information he wants, for God knows what reason.The angels take a beat to let their indignation grow. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 75.CONTINUED: NATALIE Wait a minute. We installed the transmitter, yes, but we never gave him the receiver. ALEX What? NATALIE That laptop was the only way to access the transmitter. And we gave the laptop to...They look at each other... ANGELS Bosley!And on that note...EXT. BEACHFRONT COMPOUND - FLORIDA COASTLINE - DAYWe PUSH IN over the water to reveal the massive complex -- half-villa, half-castle. Built into the green hills, it'sflanked by oversized windmills.EXT. STAIRCASE - DAYArmed guards, as if they were necessary, make sure no onegoes up or down a staircase that leans up into the tower,where their dangerous prisoner is being held.INT. COMPOUND TOWER - DAYBosley's cell, as such, is a round room.Bosley flits about in a panic. He's hardly touched the gourmetfood on his tray. Except for the pudding. He loves pudding.JUMP CUT TO:Still a-twitter, Bosley flips through the 500 channels onhis big-screen TV. He watches a few moments of E!JUMP CUT TO:As the Thin Man takes the tray away, Bosley suddenly attackshim with the silverware. With a single hand to Bosley'sforehead, the Thin Man holds him at arm's length, harmless.He takes the weapons away.JUMP CUT TO:Bosley WHISTLES to a bright red songbird who has landedon the windowsill. The bird WHISTLES back. Bosley thinksthey're having a conversation. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 76.CONTINUED:Bosley is going a little insane.JUMP CUT TO:In his spacious bathroom, Bosley is sitting on the toilet,rocking as he makes spaceman noises.We hear a PLOP in the water, and then a BLEEP BLEEP.Curious, he stands up and looks in the bowl. He's surprisedby what he sees. CUT TO:INT. TOWNSEND AGENCY - DAYAlex is on the phone, frantically dialing numbers. ALEX Come on, Bosley, answer. (she hangs up, then, to the Angels) I've tried all his numbers and paged him five times. No answer. NATALIE I don't even want to think about what I'm thinking right now. DYLAN Don't! He's alive, he's gotta be. If... (she pauses) What IS that?There's a very faint voice coming from Bosley's desk drawer.Dylan walks around the desk, yanks it open... BOSLEY (O.S.) Angels! Angels, can you hear me!Dylan grabs the radio receiver from the drawer, holds him up.Bosley's voice gets louder. BOSLEY (O.S.) (CONT'D) I don't know if you can hear me. I don't know if this thing is even working.The Angels crowd around Dylan and the receiver. It seemsimpossible.EXT. COMPOUND TOWER - DAYCLOSE ON a satellite mini-dish mounted to the roof. We CRANEDOWN to look in a tower window, where Bosley is hunched overthe TV.CHARLIE'S ANGELS - 8/18/99 77.INT. COMPOUND TOWER - DAYOn the top of the TV, a wire runs from the satellite feed to --THE TINY RADIOthat Bosley swallowed at the spa. It's worked its waythrough his system. BOSLEY I know you can't answer, but... I really hope you can hear this.EXT. RUINS OF TOWNSEND AGENCY - DAYThe angels still can't believe they're hearing his voice. DYLAN Can we trace him? NATALIE Not off a boosted signal. We'd have to be within 20 miles. ALEX Come on, Bosley. Tell us where you are.INT. COMPOUND TOWER - DAY BOSLEY I don't know where I am, really. I'm in a round room. The walls are white. Well. Not white-white. More of a cream, or an eggshell. Vanilla. Yes, I'm going to say vanilla.INTERCUTThis isn't helping. BOSLEY (CONT'D) I can see the ocean. ALEX Bingo.Dylan finds a globe amid the wreckage. Wipes off the soot. BOSLEY I don't know which ocean. I was blindfolded the whole time. We were flying. It must've been three or four hours. Maybe more. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 78.CONTINUED:With her fingers, Dylan figures out how far he could haveflown. Estimates the circumference. DYLAN (frustrated) He could be anywhere in North America.The bird Bosley was whistling to lands on the TV, looksat the transmitter, curious. SINGS its song. BOSLEY Wherever it is, they have really good pudding.Natalie holds up a finger -- stop. DYLAN (incredulous) What, pudding?The bird SINGS its song again. Natalie smiles. NATALIE Hear that? That's a blue spotted egret. They only live in one place. ALEX Florida.The MUSIC revs up, as we... CUT TO:EXT. VILLA COURTYARDA HELICOPTER touches down inside the villa gates. Knoxand Vivian emerge.INT. COMPOUND - DAYKnox and Vivian walk into a fully macked computer room,where the Thin Man is supervising a techie as he taps awayat Bosley's laptop. KNOX Well? THIN MAN Our access was cut off at the source. KNOX GODDAMNIT! THIN MAN But not before we retrieved the information you wanted. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 79.CONTINUED:The Thin Man pulls a piece of paper out of a printer,hands them to Knox. THIN MAN (CONT'D) The National Security Agency's secret file on the man known as Charles Townsend.Knox smiles. Takes the print-out. KNOX Finally. (beat) How about Bosley? Did we get the information we wanted? THIN MAN Once we we drugged him, he sang like a bird.The Thin Man hands Knox another print-out. KNOX Hmmm. Miami Arena. Preparations have been made? THIN MAN Yes. We move out tonight. KNOX Excellent. (beat) Where IS Bosley? THIN MAN In the tower. We were waiting till you gave the word. KNOX Well? No time like the present.The Thin Man nods.INT. KNOX COMPOUND - DAYThe Thin Man cocks his gun as he heads to the tower to doaway with Bosley. Then... HENCHMAN Sir? You should take a look at this.The Henchman leads Thin Man into...SECURITY ROOMA room lined with monitors that survey the courtyard. Henchmanpoints to one in the corner. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 80.CONTINUED: HENCHMAN (CONT'D) See here? Look at the timer on the camera. THIN MAN It's not moving. (beat) Oh, this is the oldest one in the book. Punch up camera three.Another camera angle comes up, this also a view of theempty courtyard. THIN MAN (CONT'D) Now pan left.The Henchman does what he's told and, on the monitor...WE SEE DYLAN, dressed in a black cat suit, as she rewiresa security camera. She glances around, making sure noone sees her. THIN MAN (CONT'D) The old re-loop the video camera trick. And look, she's not even carrying a gun. (beat) What is this, amateur hour? CUT TO:EXT. COURTYARD - DAYDylan sneaks her way through the courtyard, doing anadmirable job of trying to stick to the walls. As shecomes around the corner. THIN MAN (O.S.) Um, excuse me? I think you're trespassing.She whips around to see the Thin Man, standing rightbehind her. She instantly swings at him, he blocks it.She's about to swing again when five guns get cockedagainst her temple. She's surrounded by guards.NOW --The thin man and his boys lead Dylan into the house. THIN MAN (CONT'D) No offense, but as "storming the castle" plans go, this one sucked. DYLAN Oh yeah? And I suppose you could do better? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 81.CONTINUED: THIN MAN Yeah, I sure as hell could. DYLAN Oh, right. THIN MAN How about an underwater entry? Or hang gliding over the main tower? There's a million good ways in, if you just do your homework.Dylan glares at him, and as she does...We move in CLOSE ON Dylan's funky belt buckle. There's atiny camera concealed there.EXT. OUTSIDE THE COMPOUND - DAYNatalie and Alex huddle around a three-inch monitor,getting live video from Dylan's camera. ALEX You heard the man. NATALIE Nice work, Dyl.They move into action.EXT. SECOND STORY VERANDAH - DAYDylan is led inside by the Thin Man. Knox is waiting for her. THIN MAN Present for you, sir. KNOX Dylan, how nice. Welcome to my Florida home. Not as tasteful as the one in LA, but much more private.She shrugs off the goons -- enough already. DYLAN So tell me, Knox, what's the brilliant plan? You gonna sell a list of our foreign spies to the highest bidder? Blackmail the President? KNOX The first plan is too complicated, and the second is virtually impossible. (MORE) (CONTINUED)CHARLIE'S ANGELS - 8/18/99 82.CONTINUED: KNOX (CONT'D) Besides, I already have all the money I need and my motivation is much simpler... (leaning in close to her) ... revenge. DYLAN Revenge? Against who? KNOX You know what? I'm not in a gabby mood right now. I've got a score to settle.He flips shut a suitcase filled with C-5 explosive, thesame stuff we saw Pascal selling in the opening scene. DYLAN Seems like you're going a bit overboard. KNOX No, just leaving myself plenty of margin for error. Goodbye, Dylan.With that, he walks out of the room.The Thin Man signals to the Henchmen. Two of them forceDylan to sit in one of the wooden deck chairs.Then, with the thick packing tape, they begin binding herarms to the arms of the chair. As they do: DYLAN I don't know why you bother. I've already won. THIN MAN Is that so? DYLAN Every moment I sit here is a moment I'm using to figure out how to take you down. In fact, this statement -- this one I'm making right here-- is just me stalling for time while I decide which of your goons I'm going to flatten first. (whispering) It's gonna be the guy behind me.The Thin Man can't help but be amused. After all, thereare six guards and one blonde -- who is now taped to achair. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 83.CONTINUED: THE THIN MAN Really? DYLAN By the time your guys are firing, I'll be at about 180 on my reverse inverted 360, which will land me on Fat Boy there, as promised. (nods to the second guard) He'll take the chair seat in the chin. (re: two others; very slowly) Now... I'm warning both of you: I'm going to get you to shoot each other. I know. Cliche as that sounds. (then to the last two) Last, you guys -- hell, I'll make something up. We'll have fun.The Thin Man smirks oh-so-confidently. THE THIN MAN And what will you do to me? DYLAN You won't even be here. I mean, I don't want to tell you how to do your job, but you should've killed me by now. Because I already know that your people are onto my people, which means any moment now you're going to be called out to go and deal --Suddenly the door flies open and -- DYLAN (CONT'D) Ah! See? HENCHMAN AT THE DOOR We have intruders.With a glare to Dylan, the Thin Man follows him out.INT. UNDERWATER GROTTOAlex, dressed in a sexy bikini, emerges from the waterand instantly takes out two guards.EXT. SMALL GARDEN - DAYNATALIE hang-glides into a courtyard, knocking out twohenchmen as she does. Alex catches up with her, asNatalie pulls out a small scanner. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 84.CONTINUED: NATALIE Bosley's close. ALEX You find him. I'll get Dylan.Natalie heads left. Alex goes right.INT. TOWER OFFICE - DAYRacing up the stairs, Natalie enters a round room withopen windows on all sides. A gentle breeze stirs thecurtains. There's an amazing 360 degree view, from hillsto ocean.According to her scanner, Bosley should be here, butthere's no one. NATALIE (yelling) BOSLEY! Bosley, can you hear me?INT. BOSLEY'S ROUND ROOM DAYHearing her voice, the feral Bosley looks up. BOSLEY Natalie! Is that you?INT. TOWER OFFICE - DAYShe hears him. She keeps yelling -- so does he -- untilthey both realize that his room is above hers. NATALIE How do I get up to you? BOSLEY There's a staircase. Look for a switch.She begins frantically checking the desk, the shelves,everything.Her cell phone RINGS. She answers it. NATALIE Hello?... Pete, hi! How are you?INT. BILTMORE HOTEL - DAYOn break, Pete is talking on a pay phone. PETE I'm good. I just -- you said you wanted me to call.CHARLIE'S ANGELS - 8/18/99 85.INT. TOWER OFFICE - DAYNatalie keeps checking the shelves, looking for a secretswitch. NATALIE I did. I do. I mean, thank you for calling.INTERCUT PETE I'm not an insecure person or anything, and I've really enjoyed the very brief time we have spent together.Two GOONS race up the stairs into the office. Natalieturns to face them. PETE (CONT'D) I'm just wondering if it's something I said or did that's making this whole thing so weird between us.The Goons approach. NATALIE (into phone) Can you hold on a sec?Hitting MUTE, Natalie kicks the chair behind her and divesunder the desk. She comes up on the other side with aSURGE SUPPRESSOR,electric cords attached. She backhands it into thegoons, who jerk and twitch as electricity shoots throughtheir bodies. NATALIE (CONT'D) (un-muting) One more sec.She re-mutes.With a roundhouse kick, she flattens one of the goons,WHACKS the other with the cell phone.The first goon charges at her, but she sidesteps at thelast moment, leaving Goon One to hit Goon Two. Both mentopple through the open window, falling. Yikes. NATALIE (CONT'D) (un-muting) Sorry about that. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 86.CONTINUED: PETE Listen, is this a bad time? NATALIE No. Not at all.She starts searching again for the switch. PETE You just sound distracted. NATALIE You know, work this week has been really busy. It's been hard to focus.BEHIND NATALIE, Vivian Wu reaches the top of the stairs.She moves stealthily. Natalie has no idea she's there. NATALIE (CONT'D) See, the thing is, I'm not a full- time waitress. I should have been more up-front about that, it's just...At the last moment, Natalie catches a moving reflectionin a shiny trophy. Turns to find Vivian Wu swinging anantique chair at her head.She ducks. The chair SHATTERS the display case.Scrambling to get away, Natalie drops the phone. PETE Natalie, what was that? NATALIE (yelling to phone) Everything's fine! VIVIAN WU Hate to disagree.Vivian upends the desk, nearly crushing Natalie. Vivianjumps on top, ready to kick the shit out of our angel.As we probably suspected, Vivian Wu is one hell of amartial artist. Fortunately, so is Natalie.In their first series of blows, Vivian seems to have theupper hand, but Natalie rallies hard. Vivian surprisesher with a floor-sweeping kick, knocking her down.Vivian grabs the phone off the floor. VIVIAN WU (CONT'D) Is this the famous Charlie? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 87.CONTINUED: PETE (confused) No, it's Pete.Vivian looks at the phone. Who the fuck cares? Shethrows the phone out the open window.Getting up, Natalie stares her down, incredulity buildingto rage. NATALIE You bitch! I like that guy.Mocking, Vivian wipes away a tear.Natalie lets forth a typhoon of fury, a full-out MortalKombat. Vivian is thrown back against the bookcase,where she knocks over a candlestick.That's the trigger for the bookcases to begin sinkinginto the floor. Circling around the room, each set ofshelves drops to a different level, forming steps thatlead to the upstairs room.As Natalie and Vivian continue to fight, Bosley stickshis head down from above, watching the brawl. Natalie iskicking ass. NATALIE (CONT'D) (to Vivian) Do you have any idea how difficult it is to find a quality man in Los Angeles?She slams Vivian into the wall. Grabs her again, handsaround her head. VIVIAN WU To be honest?Vivian suddenly leans forward and KISSES her, right onthe lips. VIVIAN WU (CONT'D) I don't care.Natalie is surprised for a moment, which gives Vivian thechance to swing at her. She misses. NATALIE I can handle villainy. I can even handle super-villainy. (Vivian swings and misses again) But what you did is just wrong. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 88.CONTINUED:She head-butts Vivian, knocking her out cold. She throwsthe limp body on the floor.A beat, then Natalie looks up to see Bosley. NATALIE (CONT'D) (suddenly chipper) Hi, Bos!He waves.EXT. VERANDAH - DAYFrom below, we hear SECURITY WHISTLES. The compound has beenbreached. Dylan looks at the six armed guards surrounding her. DYLAN Here we go.And now she does exactly what she told the Thin Man she'd do:She pitches forward, ducking her head so the chair's backcrashes into the railing, tearing it off. She stands. DYLAN (CONT'D) Okay, that part worked.The Guards FIRE -- but Dylan has already launched herselffrom the railing into that backflip, which lands her onthe head of --Fat Boy, flattening him bad, and smashing the rest of thechair into kindling. She grabs the wooden seat and whipsit up, catching bullets from Guard #3 before flinging itlike a Frisbee at Guard #2, nailing him right on the chin.Quickly she stands again, between Guards #3 and 4. DYLAN (CONT'D) Now, guys, I warned you. This is where you shoot each other.The two men scoff, disbelieving. Then Dylan does a headfake, both Guards panic, and fire, but Dylan drops, leavingeach man a clear shot at the other. Both gape. Both fall.Just Guards #5 and 6 left. Dylan's chair arms are stilltaped to her forearms. DYLAN (CONT'D) Okay, here's where we improvise.In a whirl, she overhead-chops Guard #5. Drives herright arm into his shoulder while swinging her left arminto the back of the Guard #6's head. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 89.CONTINUED:A few more blows, then both men fall.Now Dylan drops into a second chair, half-exhausted,half-amused with herself. Has one brief beat to take itall in, then --Bosley steps onto the veranda, sees Dylan sitting in thechair.FROM HIS POINT OF VIEW: It looks like Dylan -- whosearms are still strapped to the arms of the first chair --is taped to the chair she now sits in. BOSLEY Oh my God, let me help you.Bosley hurries over, "freeing her." Amused, Dylan letshim. Natalie steps out from inside, pausing to KICK oneguard who was starting to revive. CUT TO:EXT. KNOX COMPOUND - DAYKnox, carrying the briefcase bomb, gets into his waitinghelicopter, followed closely by the Thin Man. KNOX Let's GO!The helicopter quick ascends, just as... DYLAN (O.S.) Damn!THE THREE ANGELSrun into the courtyard. NATALIE Don't worry, we'll get him. DYLAN You don't understand. He's got a pound of C-5 in that briefcase. ALEX The question is, where's he headed? BOSLEY (O.S.) Miami.The three angels turn to see Bosley, huffing and puffinghis way into the courtyard. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 90.CONTINUED: BOSLEY (CONT'D) The man Knox is trying to kill has two general admission tickets to the Duke- Maryland game at Miami Arena. He's going to blow up the arena and kill his target. DYLAN Not that I don't believe you, but how exactly do you know all this? BOSLEY Because Angels, I was the one who purchased those tickets. NATALIE But Bosley, you HATE sports, why would you... (suddenly getting it) You didn't buy them for yourself. ALEX You bought them for...Bosley lowers his head. Suddenly all the angels understand. ANGELS CHARLIE!They race out the courtyard, in hot pursuit. CUT TO:INT. MIAMI - DAYRacing across the water, we find thong-clad BEACH BABESmoving to a Latin beat. Art Deco buildings flank sun-kissedstreets. The people are sexy, the daiquiris strong, and everynight's a fiesta -- Welcome to MIAMI.Running down the street, towards Miami Arena, the threeangels pass THREE OTHER WOMEN rollerblading by: JILLMONROE, SABRINA DUNCAN and KELLY GARRETT.Nothing is said, but a cool moment just happened. CUT TO:INT. LONG, LONG, HALLWAY -- LATERThe three Angels are running down a very long hallway.Their voices are the only sound that echoes off thesewalls, although there is a faint humming that grows louderas they approach two, metal fire doors. DYLAN What do you think he looks like? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 91.CONTINUED: ALEX Sixty, tall, well-built. NATALIE I always saw him as younger. DYLAN Definitely. With black hair. NATALIE No, silver hair. And tan. ALEX He's not George Hamilton. NATALIE He's outside a lot. DYLAN We'll know him when we see him, that's for sure. ALEX IF we see him. NATALIE How hard can it be to spot Charlie?They slam into the doors, and we... CUT TO:INT. MIAMI ARENA - NIGHTWe reverse angle to reveal the inside of Miami Arena. The firstthing that hits us is the WALL OF SOUND, the noise madeby twenty thousand people in a basketball induced frenzy.The next thing that hits us is the sheer magnitude of thejob facing the Angels. Hard to spot? The crowd is one,enormous, teeming mass of brightly colored humanity. DYLAN Aw, shit.The game is in progress, Duke vs. North Carolina, and it's abarn burner. A one point game with six minutes to go. BALLPLAYER pulls up and swishes a three pointer, Duke by two.The crowd goes apeshit.BY THE MEZZANINEThe Angels huddle, yelling over the deafening noise of thecrowd... DYLAN (CONT'D) We have to split up! (CONTINUED)CHARLIE'S ANGELS - 8/18/99 92.CONTINUED: ALEX I'll take the luxury boxes. DYLAN I'll take the mezzanine. NATALIE I got the floor.They split up. Dylan leads the charge down the loge section,blowing past the SECURITY WOMAN, who yells after her.INT. ARENA FLOOR - NIGHTBEHIND THE RIM, COLLEGE PLAYER #2 pulls down a brick, slamshome the rebound. The crowd ROARS.INT. LUXURY BOXES --JASON GIBBONS, famous movie star and North Carolina alumnus,pumps his fists in the air. His luxury box is loaded withfellow Tar Heels and nameless studio executives. Herepeatedly high fives a Hollywood type in sunglasses and Armani. JASON Yes, yes!When suddenly, the door to the luxury box is flung open. ALEX (yelling) Charlie!? Charles Townsend!Jason whips around and locks eyes with Alex. JASON Alex? ALEX Jason? (beat) Shit.Realizing she has no time to explain, and that Charlie isn'tin here, she turns and leaves. JASON ALEX! Hey...While everyone watches, confused, Jason pushes his waythrough the box and follows Alex into the hall. CUT TO:CHARLIE'S ANGELS - 8/18/99 93.INT. ARENA -- MEZZANINEDylan races past rows of seats, pissing off plenty of fansin the process. DYLAN (looking everywhere) Charlie! Charlie!FLASHES FIREin the stands.STATISTICIANSscribble at their monitors. Natalie runs behind them,scanning the crowd. WHIP PANS, from ONE MAN to ANOTHER toANOTHER. Stopping on a likely candidate... NATALIE Charlie? LIKELY CANDIDATE Who?THE SCOREBOARD CLOCKcounts down. :60. :59. :58.INT. LUXURY BOXES - NIGHTAlex bursts in. It's a crowd of fifteen cocktail-drinkingBUSINESS MEN. ALEX Charles Townsend? Anybody, Charles Townsend?She ducks back into the hallway.INT. HALLWAY -- CONTINUOUSAlex walks out into the hallway, frustrated. Then,miraculously, she spots him...KNOX.He walks out of one of the luxury boxes, holding a large,metal briefcase. He heads for the elevator.ALEXimmediately goes to intercept him, but... THIN MAN (O.S.) Don't move. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 94.CONTINUED:It's the Thin Man, standing behind her, with a gun inher back. THIN MAN (CONT'D) You move, you say anything, I perforate you. Got it?Knox glances back at the Thin Man, nods to him. Then hegets in the elevator.The Thin Man starts edging Alex towards some emergency exitdoors, gun still in her back. Alex is trying to think of anescape, quickly. She knows that the second he gets her outof this public space, he's gonna shoot her. The door getscloser and closer... JASON (O.S.) Alex?! Jesus, what is going on?The Thin Man and Alex turn around to face Jason, who issweaty and exasperated from chasing her. ALEX Jason, hi, I...The Thin Man digs the gun deeper into her back. ALEX (CONT'D) Can I talk to you later? JASON No you can talk to me NOW. I want to know what the hell is going on. First, you disappear with no explanation, not even a goodbye. ALEX I'm sorry, I... JASON Now, I see you here, but you're with some other guy. THIN MAN Hey, movie star, do yourself a favor and get lost.Jason double takes. He's not used to someone talking tohim like that. JASON Lemme guess. You must be Charlie? ALEX Jason, please... (CONTINUED)CHARLIE'S ANGELS - 8/18/99 95.CONTINUED: JASON No, no I'm sick of this shit. I'm sick of this asshole telling you what you can and can't do.And then, with no warning, he hauls off and punches theThin Man.Now, Jason's just an actor, not an ass-kicking superdetective, so his punch isn't all that great. In fact, itleaves Jason shaking his hand in pain.The Thin Man, a trickle of blood running from his lip, smiles. THIN MAN That was stupid.First, he pops Jason right in the jaw. Jason stumblesbackward, dazed. Then he reaches for his gun, in theprocess, loosening his grip on Alex... ALEX Jason, get down!Alex spins out of the Thin Man's grasp and does a fullroundhouse kick, knocking the gun out of the Thin Man'shands. The Thin Man immediately responds, throwing twoquick punches, which Alex expertly blocks and then followswith a hitch-kick to the chin.Jason, dazed and confused, thinks he must be hallucinating. JASON What the hell is going on?What's going on is a world class ass-kicking, courtesy of hisgirlfriend. While the action star watches in amazement, Alexunloads an arsenal of bad ass kung fu moves that would makeJet Li green with envy.The Thin Man doesn't stand a chance. A flying side kicksends him stumbling backwards into the stairwell. Wefollow the fight...INT. STAIRWELL -- CONTINUOUS... to the first landing. The Thin Man, battered and bruised,reaches down to his ankle holster to get his spare gun, butAlex is too fast for him. She stamps on his hand, thendrops a knee to his throat. ALEX Right now, just by leaning forward, I could crush your windpipe. You'd die a slow and painful death. You don't want that, do you? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 96.CONTINUED:The Thin Man shakes his head "no." ALEX (CONT'D) Where is the bomb, when's it going off?She presses harder.INT. HALLWAYJason slams out into the stairwell, looking for Alex. Hefinds her on her walkie talkie, the Thin Man handcuffedto the staircase. ALEX Hi, Jason. Gimme one second?Jason nods, sure.We go to another triptych, all three Angels on their cellphones in different parts of arena. ALEX (CONT'D) Angels! Knox planted the bomb in the basement, and it's timed to go off when the game clock hits zero! NATALIE (O.S.) Roger that, Alex, I'll stop the clock! DYLAN (O.S.) I'll look for the bomb!Alex turns back to Jason. He's clearly having a difficulttime processing everything he's just seen. ALEX I lied to you Jason. I'm not a secretary. JASON Yeah, I can see that. ALEX (referring to the Thin Man) And that wasn't Charlie. JASON Right. ALEX I'm actually here to stop a madman from killing everyone in this building. Would it be okay if we talked later? (CONTINUED)CHARLIE'S ANGELS - 8/18/99 97.CONTINUED: JASON Go save the world, honey. (beat) I'll be waiting for you.Alex smiles. Runs off.INT. ARENANatalie stares up at the clock... :30. :29.The WHISTLE BLOWS. REFEREE Time out!Whew, that was close. But it'll start up any second. Shehas to keep it stopped. But how? She glances to thesidelines and gets an idea.ON THE COURT --MUSIC starts from overhead, the respective teams' cheerleaderscoming out for one last routine.As they kick into gear, Natalie comes out with them, dressedas a Duke cheerleader. She follows along with the dancers, abit timid at first, then more confident as she gets into it.INT. ARENA BASEMENT -- BENEATH THE COURTDylan races through the basement, looking for the briefcase.Then she spots it, hooked into some wires that snake upinto ceiling above.Dylan approaches it cautiously. She slowly opens the top... DYLAN (to herself) Alright, Dylan, all we have to do is figure out which wire to cut.REVEAL THE BOMB --there are about fifty different wires, in every color inthe Crayola box. DYLAN (CONT'D) Oh, shit.INT. COURTSIDEAlex, still searching for Charlie, notices something strange. ALEX You're kidding me.CHARLIE'S ANGELS - 8/18/99 98.NATALIEis fully transformed on the court, from wallflower to full-out cheerleader. It's not that she's as good as the othercheerleaders. She's better.ON THE COURTThe SONG ends. The Cheerleaders vacate the court, but Nataliekeeps dancing her heart out. She has 18,000 fans watchingher, and she's totally in the moment. But there's anotheragenda as well... COURTSIDE RADIO ANNOUNCER The time out is over, but one cheerleader doesn't seem to notice. Officials can't start the clock again while she's on the court. CUT TO:INT. MIAMI ARENA -- CONTINUOUSDylan has picked two wires. DYLAN Chartreuse and magenta. This has gotta be it.She prepares to snip them with her wire cutters, when... KNOX (O.S.) I wouldn't do that, if I were you.She spins to see Knox, standing behind her. KNOX (CONT'D) See, if you snip ANY of those wires, the bomb WILL blow up. DYLAN It's gonna blow anyway, once the clock gets to zero. KNOX Who told you that, my idiotic henchman? Do you think I tell him ANYTHING that's confidential?He holds up a small TRIGGERING DEVICE. It's the same onewe saw Pascal try to sell in the opening scene. KNOX (CONT'D) THIS is what triggers that bomb. So if you'll kindly step away, I'll refrain from killing both of us. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 99.CONTINUED:Realizing she has no choice, Dylan stands up and backs away. KNOX (CONT'D) In different circumstances, Dylan, I think you and I could have worked out. We have a lot in common. DYLAN Yeah, I fall for assholes, and you ARE one.Knox laughs. KNOX Good one. (beat, as he backs up) Well, I must be going. If you like your body parts attached to your torso, I suggest you do the same.Knox turns to go, but the other Angels are blocking his way. ALEX Give it up, Knox. You're surrounded. NATALIE Give us the detonator. KNOX NO!Stumbling backwards, Knox holds it up high. KNOX (CONT'D) I'll blow this building sky high, I swear! CHARLIE (O.S.) Don't do it, Eric. It's me you want, not all these innocent people.Everyone turns, as one, to a figure emerging from the shadows. KNOX Charlie?That's right, it's Charlie. Finally, after all these years,we get a look at him, and boy is it... disappointing.He's not what we expected. Short, portly, dressed in a"We're #1" t-shirt; the Angels are absolutely floored byCharlie's appearance. ANGELS Charlie?Charlie ignores their stares and addresses Knox directly. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 100.CONTINUED: CHARLIE Your father was a double agent, Eric. Yes, I revealed him, but he was killed by his own people before we could throw him in jail. (beat) He was my friend. KNOX It's still your fault, you arrogant prick! You still killed my father! CHARLIE Maybe. Maybe I did. But why should YOU kill all these people? If you hate me so much, just shoot ME. Just shoot me, Eric.Charlie spreads his arms, leaving Knox a plenty wide target.It's a horribly tense moment. The Angels are frozen, watchingKnox decide Charlie's fate.Knox is sweating, debating his choices. Can he really dothis? Charlie's not the glamorous, smug asshole he imagined.He starts lowering his gun. KNOX Okay. You're right. (quickly) I'll just kill you.BLAM!It all happens in the blink of an eye. Knox fires, hittingCharlie in the chest. Natalie leaps out and tackles Knox.Alex dives and grabs the detonator, before it has a chanceto go off.Dylan runs to Charlie's side. DYLAN Charlie, no. NO!She hold shim in her arms as the other Angels gather roundtheir fallen leader. He gasps for air. DYLAN (CONT'D) He's trying to say something.Then Dylan notices something weird. He's not gasping forair, there's something stuck in his mouth.With a great, hacking cough, he spits it out. It's a voicechip, like the one Dylan used in the opening scene. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 101.CONTINUED: VOICE Ucch, that tasted terrible!The voice isn't Charlie's. Dylan reaches down and ripsoff Charlie's mask, revealing... NATALIE Bosley! Are you okay? BOSLEY Think so.He pulls back the padding from the suit, revealing a smallwound where the bullet grazed his side. BOSLEY (CONT'D) Hurts, but it looks like it'll heel.Dylan laughs, Alex ruffles his hair. DYLAN Hey, wait a second. If Bosley's here... then where's Charlie?The Angels all look at each other. No one knows.EXT. CENTER PASSAGE - DAYIn gorgeous SLOW MOTION, the three angels walk side-by-sidewith a calm assurance, fireballs exploding behind them.They won.As MUSIC rises, the ANGELS TRIPTYCH descends, then peelsaway to reveal...EXT. GORGEOUS BEACH - DAYThe angels kick back on the white sands, tropical drinks in-hand. Bosley is there as well, with a grass hat and zincon his sniffer.Charlie is on the cellular speakerphone. CHARLIE'S VOICE Great work, angels. You'll be happy to know you received another presidential commendation.The Angels, and Bosley, clink glasses. CHARLIE'S VOICE (CONT'D) Enjoy your vacation, angels. THE ANGELS Thank you Charlie. (CONTINUED)CHARLIE'S ANGELS - 8/18/99 102.CONTINUED:They toast the speakerphone. CHARLIE'S VOICE Alex, Natalie -- I know you've been putting in some long hours on this case, so I thought you might enjoy a chance to catch up with some old friends.NATALIE AND ALEX TURN TO SEEPETER AND JASONwalking across the beach towards them. Each is carrying adrink of his own. They wave. Damn those men look good.Alex and Natalie share a smile. DYLAN Any chance you'll be joining us, Charlie? CUT TO:A SUNNY DECKWe're in Charlie's point-of-view. We can see part of hisreflection in the window -- not enough to see his face,but we get some sense of the man.He turns away, begins walking. Steps down onto the sand. CHARLIE (to cell phone) I'd love to, Angels. But I have some precious treasures to watch over.With that, he hangs up. We stay in his P.O.V., walkingacross the beach. And it's not just any beach.TO THE LEFT, WE NOTICEPETE AND JASONapproaching. We're on the same beach.Looking right, we see the backs of the Angels and Bosley.They have no idea that Charlie is walking right behind them.A beat, then Dylan looks back.She looks directly as us -- at Charlie -- tracking as wemove past. Does she somehow recognize it's Charlie?From her reaction, it's not clear.A beat, then we...CHARLIE'S ANGELS - 8/18/99 103.REVERSE ANGLE/NOT P.O.V.Dylan looks back forward again. Did she just see Charlie?Her smile tells us she thinks she did.She raises a toast. DYLAN To Charlie. THE ANGELS AND BOSLEY To Charlie.They knock glasses.Right at the moment we should probably fade out, Bosleyspills his icy drink in his lap. His eyes go wide.The Angels just have to laugh.We FREEZE FRAME, then...CUT TO BLACK. THE END \ No newline at end of file