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Jonathan and Mike
INT. JONATHAN'S LOFT - DAY
A simple, sparsely furnished apartment with a single portable computer.
| MIKE |
| Checked on our friend. |
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| JONATHAN |
| And? |
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| MIKE |
| Nothing. Hasn't been in the building all day. Guy's like a phantom. Maybe we should install a mini in the lobby. |
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| JONATHAN |
| What for? |
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| MIKE |
| Has to check his mail, no? |
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| JONATHAN |
| He still has to come through the hallway to get home. |
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| MIKE |
| Unless there's another entrance into the apartment. |
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| JONATHAN |
| Checked it. There was no other way in or out. |
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| MIKE |
| So he just disappeared? |
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| JONATHAN |
| He'll be back. They always come back. |
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| MIKE |
| See the girl? |
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| JONATHAN |
| Just opened it. |
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| MIKE |
| What do you think? |
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| JONATHAN |
| Better looking than most targets. |
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| MIKE |
| I mean, do you think we'll find her? |
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| JONATHAN |
| We always do. |
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| MIKE |
| Can't believe you put us to work for Spanos again? Guy's nothing but trouble. |
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| JONATHAN |
| We're professionals. |
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| MIKE |
| But it's Spanos. |
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| JONATHAN |
| We could use the money. This business doesn't run on hope. We need clients. |
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| MIKE |
| We have clients. |
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| JONATHAN |
| Penny ante stuff. |
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| MIKE |
| The McEwing job was a score. |
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| JONATHAN |
| Nope. |
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| MIKE |
| class="contentfont">What do you mean? |
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| JONATHAN |
| It's a do-over. We took it on spec. We didn't deliver. |
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| MIKE |
| What're you talking about, do-over? We laced that apartment, top to bottom. |
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| JONATHAN |
| Yeah, we did. But the lovely Mrs. McEwing never came home. She took her boy toy and rented a hotel room instead. |
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| MIKE |
| That's not our fault. |
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| JONATHAN |
| The deal was that we'd catch her in the act. |
| No blow, no dough. |
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| MIKE |
| Son of a bitch. |
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| JONATHAN |
| We need the money, Mike. |
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| MIKE |
| Yeah, but it's Spanos. |
Computer sounds off.
| COMPUTER VOICE |
| You've got mail! |
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| JONATHAN |
| A flight attendant from LA. Met her on-line. |
| Wants to know where I'd take her on our first date. |
| (speaks; voice activation types onto screen) |
| How does Bermuda sound? |
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| MIKE |
| More like Cybermuda. Always figured someday you'd disappear into one of these damn computers. |
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| JONATHAN |
| Shut up! |
The voice activation types the words "Shut up" on the computer screen.
| JONATHAN |
| See what you made me do! |
Jonathan uses the keyboard to correct the mistake.
| JONATHAN |
| You're gonna blow my chances with this one. |
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| MIKE |
| Ya know, I really don't get you, Jonathan. You live in the greatest city on earth, surrounded by the most beautiful women in creation and you lock yourself in your apartment talking to electronic Barbie dolls that might not even be female. |
| Heck, they might not even be human. |
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| JONATHAN |
| These are the singles bars of the new millennium, Mike. |
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| MIKE |
| They're the dating game for agoraphobics. |
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| JONATHAN |
| She called me pulchritudinous. |
| Awesome. She spelled it right. Smart one. |
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| MIKE |
| When will you learn, Jonathan. An on-line date isn't a date at all. And virtual reality is only virtual, it isn't reality. (turns off the monitor) |
| Now let's go find this girl. |
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| JONATHAN |
| I wonder who she is? |
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| MIKE |
| Don't start. It's not our business. Just doing a job. |
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| JONATHAN |
| Yeah, but she's great looking. |
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| MIKE |
| It's a target. We're watching it. That's that. |
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| JONATHAN |
| Maybe she's an undercover agent, a drug dealer, an international terrorist. |
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| MIKE |
| You watch too many movies. She's probably that guy Russell's girlfriend. |
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| JONATHAN |
| A girl like that wouldn't go near him. |
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| MIKE |
| All of a sudden you're an authority on girls. |
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| JONATHAN |
| I can see it in her eyes. |
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| MIKE |
| That's it. Let's go home. She isn't showing. |
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| JONATHAN |
| It's 12:10. The last film lets out in five. Keep your eyes open. |
A pack of moviegoers exits the theater.
SFX - Using a small digital video camera, Jonathan pans across the faces in the crowd, looking for the woman in the photo.
He cannot locate her and now the flock of moviegoers seems to have completely dispersed.
| MIKE |
| We'll give it another try tomorrow night. |
| JONATHAN |
| There she is! |
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| MIKE |
| Where? |
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| JONATHAN |
| There! The side exit! |
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| MIKE |
| That's not her. |
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| JONATHAN |
| Yes, it is. |
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| MIKE |
| She's wearing sunglasses. How can you be so sure? |
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| JONATHAN |
| Because she is wearing sunglasses. |
Mike throws the van in gear and heads off in pursuit of her.
| JONATHAN |
| Don't get too close. But don't lose her. |
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| MIKE |
| I won't. |
The van trails the woman's car through traffic, zigging and zagging through crowded streets, always staying just a few car lengths behind.
| JONATHAN |
| Don't pull up beside her at a light. |
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| MIKE |
| (sarcastically) Anything else? |
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