INNOCENT TARGET


INNOCENT
TARGET
by
Josh Greenberger


Copyright Josh Greenberger
Also registered with the Writer's Guild of America


This screenplay is based on true events
All rights reserved

For option or purchase please contact Josh Greenberger





On September 4, 1997, DIANA CAMPUZANO, an
American visiting Israel, was the victim of a
terrorist attack which took the lives of seven
people and injured 192, 8 critically. Diana
was one of the 2 most critically injured. 

The attack drew international attention.
Diana's picture, her face completely covered
in blood, was displayed on the front pages of
many major newspapers and magazines. 

Actual photos of Diana before and after the
attack, photos of the carnage that appeared in
Newsweek, USA Today, and other publications,
can be seen at www.innocenttarget.com. There
you will also find a photo of Prime Minister
Benjamin Natanyahu visiting one of Diana's
injured friends. 

In spite of the odds against her, Diana
survived. 

Based on true events and characters, this is
Diana Campuzano's horrific story. 



                 -------------------------------



EXT. ISRAEL - SEPTEMBER 4, 1997, 3:09 P.M.

OUTDOOR CAFE IN BEN YEHUDA STREET SHOPPING PLAZA

It is a warm, bright, sunny day. DIANA CAMPUZANO, 30, and a couple
of friends, SHERRI and GREGG, enjoy coffee, cake and light banter
in this crowded cafe. 

(Diana's face is not shown throughout this scene, for reasons that
will become clear later.) 

Among the throngs of people moving in and out, 3 MEN IN OVERCOATS,
a little overdressed for this weather, walk in, nervously shifting
their eyes from side to side. One of the men is poorly disguised as
a woman. Diana's eyes are diverted to this guy. 

               DIANA
     That's odd. 

Somewhat apprehensive, Diana turns her attention to 2 ISRAELI
SOLDIERS with machine guns just outside the cafe. 

Suddenly, one of the 3 men slips his hand under his overcoat. 

               DIANA
     (shouts)
          No!

The soldiers swing around instantly, raising their guns. But not
quickly enough. 

The three men activate detonators under their overcoats -- creating
three HUGH EXPLOSIONS, in rapid succession, which rip through the
cafe. 

The blast picks up Gregg and hurls him 8 feet away. Tables, chairs
and many patrons go flying. 

When the smoke clears, we see Gregg with a broken leg, Sherri burnt
over 30% of her body, and Diana bleeding profusely from the face.
There are also dead bodies and body parts strewn about. 

CUT TO SEVERAL MINUTES LATER

Ambulances, cops, military personnel and the news media are at the
scene. 

As Diana, in critical condition, is carried from the rubble into an
ambulance, she is photographed by just about every photographer at
the scene. But her face cannot be seen through all the blood. 


A PARKED CAR CLOSE TO THE CARNAGE
Inside are ABU ATEF, the leader of a terrorist cell, and one of his
cohorts. 

               ABU
          (heavy middle eastern accent)
          (looking with glee at the dead bodies)
     Excellent. 

They drive off. 

CUT TO A CLOSE SHOT of headlines of an American newspaper reading,
"Terrorist Attack in Israel Kills 7, Wounds 192, 8 Critically"


EXT. CHURCH - ROCHESTER, NEW YORK - DAY - 13 YEARS AGO

The pastor greets congregants as they leave Sunday services. 

Diana, 17 HERE, appears with her parents, RAMIRO and MABEL, and her
brother, JORGE, about 2 years her junior. 

               MABEL
     Excellent sermon, pastor. 

               PASTOR
     Thank you, Mabel. 

Mabel nudges the kids. 

               DIANA
     Yes, it was really nice. 

               PASTOR
     Oh, thank you, Diana. 

INT. CAR - THE CAMPUZANOS DRIVING HOME - COUNTRY ROAD - DAY

               MABEL
     You didn't seem very attentive, Diana. 

               DIANA
     Ma, I have finals this week. 

               MABEL
     Well, I hope you at least do well in that. You're going to
     college after the summer, you know. 

               DIANA
     I know, ma. 

               JORGE
     She was thinking of Jason.
          (laughs)

               DIANA
     Shut up, Jorge.

               MABEL
          (grimaces)
     Isn't that the Jewish kid?

               DIANA
     I was not thinking of Jason. 

A couple of minutes later, they pass a small synagogue. Diana's
eyes are fixated on the large Star of David on the front door. 


INT. CLASSROOM - PURDUE UNIVERSITY - DAY - 4 YEASR LATER

Diana sits next to several friends, TIFFANY (her roommate), NORM
and BRANDON. 

               PROFESSOR
          (recites from memory, as if reading scripture)
     In the beginning you laid the foundations of the earth, and
     the heavens are the work of your hands. They will perish, but
     you remain; they will all wear out like a garment. Like
     clothing you will change them and they will be discarded. But
     you remain the same, and your years will never end. 

The professor calls on a student who is raising his hand. 

               STUDENT
     Luke. 

               PROFESSOR
     No ... Psalm 102.

               DIANA
     How do we authenticate one or the other? 

               PROFESSOR
     We don't. In comparative analysis, we leave authentication to
     others. Our objective is to show commonality and equality of
     cultures and religions. 

               DIANA
     But aren't some religions opposed to one another in principle?


               PROFESSOR
     Yes, they are, Diana. But why should that matter? 

               DIANA
     Well, if one is true, the other one cannot possible be true.
     How can true and false possibly be equal? 

               PROFESSOR
     Now that's just one possibility ... 
          (looks around the classroom for an answer)
     ... any other possibilities? 

The professor calls on one of several students raising their hands.

               STUDENT
          (smiling)
     False and false. 

               PROFESSOR
     Excellent, Walter. 


INT. RUN DOWN BUILDING - GAZA STRIP, ISRAEL - DAY

CLOSE SHOT of a map of Israel on the wall. 

               ABU (V.O.)
     Our mission will be over when this entire region will be known
     as Palestine ... 

CAMERA PULLS BACK revealing ...

Abu and about a half dozen middle eastern men, all between 18 and
28, are in this decrepit looking room. All pack pistols, some have
rifles. 

               ABU
     ... martyrdom cannot be measured with money. It can be
     measured only with its power to persuade ... 

KNOCK ON DOOR

All jump up and surround the door, guns drawn. Abu peeks through a
crack in the door. 

               ABU
     It's them. 

Abu opens the door. In walk 2 of their comrades, pulling 2 crates.
They open one crate; it's full of scuba diving gear. 



EXT. PURDUE UNIVERSITY - DAY

Diana comes out of the school's main hall with her friends,
Tiffany, Norm and Brandon. 

               NORM
     Lighten up, Diana, it's just a stupid course. 

               DIANA
     Norm, if everyone took things as lightly as you, we'd still be
     galloping cross country. 

               NORM
          (laughs cockily)
     Yea, but we wouldn't be seriously disturbed about it. 

               TIFFANY
     Norm, you're disturbed. 
          (to Diana)
     Di, you coming tonight? 

               DIANA
     Tonight? 

               TIFFANY
     Brook's party. 


INT. DIANA AND TIFFANY'S DORM ROOM - NIGHT

Tiffany is all dressed up and ready to party, Diana is still
getting dressed. The TV BLARES in the background. 

               DIANA
     Tif, why don't you go ahead. I'll catch up.

               TIFFANY
     Oh no, Di, I wouldn't go without you. 

               DIANA
     No, really, it's okay. I'm not ready yet. 

               TIFFANY
     You sure? 

               DIANA
     I'm sure. 


               TIFFANY
          (as she leaves)
     Okay, see you there. 

A news report comes on about a terrorist attack in Israel. Diana's
eyes are glued to the TV. 

PHONE RINGS

               DIANA
     Hello. 
          (listens a second)
          (affectionately)
     Hi. 
          (listens)
     Just getting ready for the party. 
          (comically)
     Well, if you weren't so damn smart and hadn't graduated a year
     before me, we'd be going to the party together instead of
     being miles apart. 
          (listens)
     Miss you too, Stuart. 

Hangs up. 

EXT. COLLEGE CAMPUS - NIGHT

All dressed up, Diana walks toward what seems like a loud party in
one of the dorms. She is about to enter, when she turns around and
heads for her car. 

CUT TO DIANA DRIVING DOWN A DARK COUNTRY ROAD

She passes a small rural synagogue that's brightly lit. Through the
windows, she can see it's crowded. 

She makes a u-turn and heads back toward the synagogue. This time
she drives into the parking lot. 

INT. SYNAGOGUE

Diana appears at the door, obviously nervous about being there. 

The congregation is standing as THE CANTOR recites some prayers.
Diana takes a prayer book and moves into a pew. The entire
congregation sits down. 

A woman next to Diana keeps looking at her then glancing at her
prayer book. Diana glances back several times, but doesn't know
what to make of it. Finally, the woman takes the prayer book from
Diana, turns it right side up, then hands it back. The woman
smiles, Diana smiles, the CANTOR GETS LOUDER IN THE BACKGROUND. 

CUT TO AFTER SERVICES

Diana and the Rabbi, the only 2 left, are involved in conversation.

               RABBI
     ... Diana, my advice to you is to follow in the faith of your
     parents. If they fear God, if they love their fellow man,
     that's really all you need. 

               DIANA
     How about the deeper dimensions? 

               RABBI
     Why burden yourself? With greater aspirations, come greater
     trials and tribulations?

               DIANA
     So what you're saying is that it's too challenging for me? 

               RABBI
     What I'm saying is that sometimes tests are commensurate with
     a person's will and determination. You do look to me like a
     very strong-willed person. But why test the waters? 

               DIANA
     Rabbi, I've never run from a test. 

               RABBI
          (sighs, as if not wanting to say this)
     That's what worries me, Diana. You seem TOO ready for the
     challenge. 

INT. DIANA'S DORM ROOM - A SHORT WHILE LATER

Diana walks in and finds Tiffany back from the party, lying on her
bed, face down, crying. 

               DIANA
     Tif, what's wrong? 

               TIFFANY
     Brad left with Camrin. 


               DIANA
          (with empathy)
     Oh, Tif. Tif, listen, there are so many guys this semester,
     you'll forget about him before you know it. 
          (strokes her hair to sooth her)
     Remember Brian? You were a wreck. Two weeks later, you didn't
     know he was alive. 

               TIFFANY
          (sobbing subsides somewhat)
     Maybe you're right. 

               DIANA
     I know I'm right. 

               TIFFANY
          (stops crying)
          (comically)
     If Brad's still alive in two weeks, I'll kill him. 
          (forces a smile)
     What happened to you? 

               DIANA
     Oh ... I went to another party. You know, a last minute thing.
     
               TIFFANY
     Oh. Who else made a party?

               DIANA
          (thinks for a moment)
     Uh ... Rabbi Tenanbaum. 


               TIFFANY
     Who? 


EXT. BIG CAMPUS LAWN, GRADUATION DAY - DAY

A stage is being prepared for graduation ceremonies, and hundreds
of chairs are being lined up. 


EXT. OPEN SEA - SOMEWHERE IN THE MIDDLE EAST - NIGHT

With 2 Israeli gunboats in the distant background, a relatively
small boat, with about a dozen men on board, shuts its engine and
comes to a halt. 

CLOSE SHOT of the small boat reveals Abu and his men, and a few new
faces. Abu and his men are dressed in scuba gear. Next to them are
SEVERAL OPEN CRATES loaded with explosives. 

               A NEW FACE
          (pointing to a bulge on one of the crate's cover)
     Flotation devices. 

Suddenly, a siren goes off on one of the Israeli gunboats. Abu's
gang hits the deck, with guns drawn. They lie motionlessly, as they
observe some activity at a distance. 

CLOSE SHOT of the Israeli gunboats

The Israelis go after some teenagers in a small speedboat who have
crossed a security line. The teenagers stop. The Israelis board
their boat. 

EXT. GRADUATION DAY CEREMONIES - PURDUE UNIVERSITY - DAY

Diana and her friends are decked out in the usual graduation garb;
robe, hats, etc. 

As the graduates give their commencement addresses from the stage,
an audience of mostly parents sit and listen. 

               TIFFANY
          (finishing her address)
     ... so I'd like to thank my professors, my mentors, for making
     a brighter future possible. Thank you. 

As she descends from the stage to applause, Diana is called up. 

CLOSE SHOT of Diana's parents, her brother, and her boyfriend,
STUART, in the audience. 

               DIANA
     I'd like to begin by thanking my parents for giving me the
     opportunity to attend this great institution. I know I've
     grown scholastically. Hopefully, I've also grown
     intellectually. I realize it's been a sacrifice for them ... 
          (SHOT OF HER PARENTS' emotional look)
     ... I will forever feel indebted to them ... 


EXT. BACK TO THE OPEN SEA - NIGHT

The Israelis are completing their check of the teenagers' boat. 


ABU'S BOAT
By now Abu and his men have taken out some big guns and have them
pointed directly at the Israelis. 

THE ISRAELIS
They return to their gunboats, wave the teenagers on to a secure
zone, then retreat into the background. 

ABU'S BOAT
Abu and his men breath a sigh of relief, then close each crate and
lower them into the water. Each crate has a rope attached to it.
Abu and his men jump into the water. 

CUT TO underwater

Abu's gang pulls the crates underwater; the crates are submerged,
with their tops floating just beneath the surface. 


EXT. BACK TO THE GRADUATION - DAY

Diana finishes her speech. 

               DIANA
     ... so it is with a heavy heart that I leave my alma mater. I
     know that no matter how far I go in life, I will always
     remember my experiences here as the foundation of my
     adulthood. Thank you. 

The audience applauds. 

As Diana leaves the stage, she is greeted by her family and
boyfriend. 

               STUART
          (impressed)
     God, where'd you learn to write a speech like that? 

               DIANA
     I just graduated college, Stuart. Hello ... 


INT. DIANA'S ROOM - THE CAMPUZANO HOME - ROCHESTER, NY - NIGHT


INTERCUT PHONE CONVERSATION with Rabbi Tenanbaum (whom Diana met
while in college). Diana holds a note in her hand with the
following info scribbled on it: 

     Rabbi David Mallach
     Kabalist
     972-2-555-7182
     212-555-8716

               RABBI
     He comes to New York twice a year. 

KNOCK ON DOOR

               DIANA
     Excuse me Rabbi. 
          (louder, toward the door)
     Yes. 

               RAMIRO (Diana's father) (V.O.)
     Stuart's here. 

               DIANA
     I'll be right there. 
          (to Rabbi)
     Rabbi I have to thank you for everything. 

               RABBI
     No problem. All the best. 

EXT. A BOWLING ALLEY

Stuart and Diana pull up in his car and get out. Tiffany and
Brandon are already waiting. 

               BRANDON
     What took you guys so long? 

               STUART
          (comically)
     Don't look at me. Prima donna here couldn't find her bowling
     gown. 

               DIANA
     Stuart, sit on it. Like you're always on time. 

INT. BOWLING LANE

A SHORT MONTAGE of the four bowling. 


EXT. ISRAELI KIBBUTZ - MORNING

INT. ONE OF THE HOUSES

EZRA and his wife, SHOSHANA, both about 25, are in the kitchen with
their 5-year-old daughter having breakfast. (All speak with Israeli
accents.) 

               SHOSHANA
          (looking into the fridge)
     Ezra, we need milk. 
     
          EZRA
     I thought I got it last night. 

               SHOSHANA
     No, you dreamt you got it last night. 

               EZRA
     Okay. 
          (heads for the door)
     Anything else. 

               SHOSHANA
     No, just milk. 

EXT.

Wearing a small-caliber gun and holster, Ezra comes out and steps
into his car. 

The CAMERA PANS with his car for a second then stops at a figure in
the bushes -- it's Abu, holding a 2-way radio. 

               ABU
          (quietly into radio)
     Okay. 

Suddenly, several houses in the kibbutz blow up. 

Ezra frantically makes a u-turn and heads back to his house, which
is engulfed in flames. He is met with gunfire as he tries to run
toward his house. Jumping behind his car for cover, he returns the
fire. 

Abu eventually stops firing and takes off. 

With his house almost completely burned to the ground, and
obviously no survivors possible, Ezra sinks to the ground and
bursts into tears. 


INT. BACK AT THE BOWLING ALLEY - STUART'S PARKED CAR - NIGHT

Diana and Stuart are in the front seat making out, Tiffany and
Brandon are in the back seat doing the same. 

               BRANDON
     Hey, guys, Tiffany's gonna cook us up some love potions. She
     got that biochemist job. 

               DIANA
     Hey, Tif, you didn't tell me. 

               TIFFANY
     I just found out today. 
          (kisses Brandon)
     And Brandon got accepted as a civil engineer. 

               DIANA
     Hey, that's great. 

               TIFFANY
     I don't know how. 
          (laughing)
     He doesn't look too civil to me. 

Brandon "tackles" her as they laugh and kiss. 

               STUART
     My pop's giving me a couple of weeks off. 

               BRANDON
     Who's gonna represent those bad guys while you're on vacation?

               STUART
     Hey, they're all good till proven bad, remember that. 
          (to Diana)
     How about you? 

               DIANA
     Oh, I don't know ... 

               STUART
     What do you mean, you don't know? We've been looking forward
     to this. You're out of school, I'm off ... 

               DIANA
     ... I know, but ... 

               STUART
     ... but what? 

               DIANA
     Stuart ... I'm going to New York. 

               STUART
          (looks dumbfounded)
     New York? 

INT. LATER THAT EVENING - DIANA'S HOUSE

Mabel, Diana's mother, comes out in her robe as Diana and Stuart
enter the house. Diana and Stuart kiss, say good night, and Diana
hurries to her room. 

Mabel walks an unhappy looking Stuart to the door. 

               MABEL
     Stuart, anything wrong? 

               STUART
     Mrs. Campuzano ... did Diana meet someone from New York.

               MABEL
          (startled)
     What? 
          (then remembers)
     Oh ... that. No, she didn't mean anyone form New York. 
          (pause)
     She's going through some kind of phase.

               STUART
     Phase? 

               MABEL
     Yes. She's searching. 

               STUART
     For what? 

               MABEL
     Oh, she's a little confused about ... well, religion, God ..
     you know, that kind of thing. 

               STUART
     Well what's in New York? 

EXT. NEW YORK SKYLINE - DAY

EXT. JFK AIRPORT

A small shuttle-plane lands. 

EXT. RAMP IN FRONT OF TERMINAL BUILDING

Diana steps into a cab. 

EXT. WILLIAMSBURG - AN ORTHODOX JEWISH NEIGHBORHOOD - DAY

After driving through several streets full of Hasidim, Diana's cab
stops in front of a three-story brownstone. She double checks the
address from a peace of paper, pays the cabbie, then steps out. 

INT. LIVING ROOM - SECOND FLOOR OF BROWNSTONE

This living room serves as a waiting area for Rabbi David Mallach
when he's seeing people in New York. Seated, are about a dozen
people of all walks of life and of various faiths. 

Diana enters and takes a seat. 

In a few seconds, Ezra, the Israeli who lost his wife and child in
the terrorist attack earlier, enters, and sits down in the only
available seat -- right next to Diana. He politely greets her; she
reciprocates. 

Rabbi Mallach's "office" door opens, an elderly woman leaves, the
"next" person, in this case, a young man in his thirties, walks in,
and the door closes. 

INT. RABBI MALLACH'S "OFFICE" - A HOME STUDY WITH A DESK AND CHAIRS

RABBI DAVID MALLACH, a man in his seventies, with a long white
beard and glasses, sits behind the desk. 

Upon taking a seat facing the Rabbi, the young man's eyes well up
with tears. 

               MAN
     They still haven't found her, Rabbi. 
          (barley able to hold back the tears)
     We don't know what to do. 

Rabbi Mallach gets out of his seat, puts a comforting arm on the
man's shoulder. 

               RABBI
          (in comforting tone)
     Avi ... listen to me ... she's fine. 

               AVI
     It's been two weeks. 


               RABBI
     I know. 
          (moves his hand across Avi's back in a consoling manner)
     Avi ... you hear what I'm telling you? She's alive and well.
     And they'll find her. 

CUT TO WAITING ROOM - EZRA AND DIANA

               EZRA
          (Israeli accent)
     After the attack, I found it difficult to stay. 
          (pause)
     I have some family here. They helped tremendously. 
          (points to the Rabbi's "office")
     But the moment the Rabbi says I'm ready, I'm on a plane the
     same day. 

               DIANA
     You have that kind of trust in him? 

               EZRA
     Trust? I'd put my life in his hands. 
          (anxiously pages through a book without paying much
          attention to it)
     In Israel, I used to come to him with my father when I was a
     kid. 
          (pause)
     You have no idea how many people he's helped. 

CUT TO DIANA IN RABBI MALLACH'S OFFICE

Rabbi Mallach is behind the desk, Diana sits facing him. 

               RABBI
          (in almost comical contrast to the last scene)
     I can't help you. 

               DIANA
     Rabbi, I came all the way from Rochester ... 

               RABBI
     ... my child, I know where you came from. It's where you're
     coming from that worries me. 
          (removes his glasses and holds it one hand)
     You want me to prove everything I believe? 

               DIANA
     Well, if you believe in something ... 


               RABBI
     Let me ask you something. Have you ever been to Florida? 

               DIANA
     Sure. 

               DIANA
     The first time you paid for a ticket, were you absolutely sure
     there WAS a Florida? 

               DIANA
          (taken aback)
     Of course. 

               RABBI
     You mean, you proved there was a Florida before you put money
     down for the ticket? 

               DIANA
     Well, no. 

               RABBI
     But you were absolutely sure there was a Florida. 

               DIANA
     Okay, Rabbi, what's the point? 

               RABBI
     The point is, a few individuals told you there was a Florida
     and you believed it. 
          (points out the window)
     Every tree out there tells you there's a God. Every living
     creature out there tells you there's a God. Every living cell
     has a blueprint for life, that tells you not only that there's
     a God, but it speaks of His resourcefulness. And you want to
     know what I can prove? How can I prove more than God proves
     every day?  
          (with a comic flare)
     Look, why don't you spend some time thinking about this. Then,
     come back and tell me what you're more sure of -- God or
     Florida. 


INT. DIANA'S HOME - BREAKFAST TABLE - MORNING

Jorge, Diana's brother, says goodby as he rushes off to school. 

Mabel, Diana's mother, serves breakfast, as Ramiro, Diana's father, 
reads a newspaper. Diana sips a cup of orange juice. 

               MABEL
          (a little agitated)
     So what took a week? 

               DIANA
     Mom, he was totally booked. I had to be there in the city to
     get in. 

               MABEL
          (with skepticism)
     And now that you got in. 

               DIANA
          (hesitates for a moment)
     It's an ongoing study, mom. 

               MABEL
     No, Diana, this is not a study. School was a study. This is
     part your ongoing discontentment with the way things are. 
          (places two plates of scrambled eggs on the table)
     You were always like this. You always needed to push for
     something that was not for you. 

               DIANA
          (eats a fork full)
     Mom ... 
          (another fork full)
     .. when I finish my study, I'll know if it's for me. 

Ramiro unfolds his paper, places it on the table, and starts
eating. With an upset look, Mabel sits down with a plate of eggs.

CAMERA ZOOM INTO THE NEWSPAPER HEADLINES: "5-Year-Girl Found Alive
and Well;" underneath is a picture of the five-year-old with her
overjoyed parents -- the father is Avi, the man who was at Rabbi
Mallach's "office." 


INT. JEWISH THEOLOGICAL SEMINARY OF AMERICA, N.Y.C. - DAY - 1997

ISAAC WASSERMAN, a man around 30, teaches Judaic studies to a class
of fifteen students. 

               ISAAC
          (glancing at his book from time to time)
      ... Maimonides employs a similar method in the procedure for
     accepting converts: If "upon investigation, no ulterior motive
     is found, the court should say, 'Do you not know that Israel
     is at present oppressed?' If he answers, 'I know,' he should
     be accepted." 

               STUDENT
     Was this Naomi's approach? 

               ISAAC
     Naomi's approach, in contrast, sets a greater challenge. Naomi
     tells Ruth, "Don't you know that my lot is far more bitter
     than yours, for the hand of the Lord has struck out against
     me?" Behold, I'm like Job; I can't promise you God's help ... 

INT. HENRI BENDEL, A SWANK WOMEN'S CLOTHING STORE - NYC - DAY

Diana is behind the counter wrapping up a sweater for a customer.
Her BOSS, a woman 10 years her senior, comes into the SHOT.

               BOSS
     Diana, I may need you to come in a little later tomorrow. 

               DIANA
     No problem. 
          (remembers)
     Oh, call on my cell, the home phone's out. 


EXT. A TERRORIST BOOT CAMP - SOMEWHERE IN THE MIDDLE EAST - DAY

Abu, 15 years older here, and about two dozen men, all dressed in
combat fatigues, holding rifles, packing pistols and decked out
with hand grenades, train in an open field. They run through mud,
climb monkey bars, etc. 

Their attention is drawn to a military helicopter approaching from
over one of the SURROUNDING MOUNTAINS. They all run for cover,
rifles aiming at the chopper. 

Moments before they are about to open fire, Abu notices a peculiar
symbol on the chopper, which he recognizes. 

               ABU
     Don't shoot. 

Suddenly, a LIMOUSINE comes out from over a hill. 

The chopper is now directly overhead, hovering. 

The limousine stops in front of Abu. A well-dressed diplomat-
looking gentleman steps out. He and Abu just stare at each other
for several seconds that seem like an eternity; you can't tell if
they're about to smile or shoot each other. 

Finally ... 

               DIPLOMAT
          (with middle eastern accent)
     The commission has approved the funds. 
          (Abu's frown turns into a smile)
     But ... 
          (pause)
     ... media coverage is very important. 
          (pause)
     Skirmishes are for school kids. For media attention, we need
     a "struggle." 

               ABU
     I understand. 

The chauffeur steps out and goes back to the trunk. 

The chopper lands. 

               DIPLOMAT
     We need high profile locations, more casualties, more
     collateral damage, you know ... that kind of thing. 
          (pause)
     You see, without noise, nobody is interested in you're
     troubles. 
          (with a spark in his eyes)
     But when you shake people out of their comfortable lives, they
     want to know why all the noise ... Why are you so angry? ...
     Who are you angry with? 

               ABU
     Yes, I think we see eye to eye. 

The chauffeur opens the trunk; it's full of hundred dollar bills. 

               DIPLOMAT
          (pointing to the trunk)
     Eh? 
          (smiles)
     Noise doesn't come cheap, but if it's loud enough, it's money
     well spent. 
          (pause)
     Gentlemen, it was my pleasure. 

The diplomat and his chauffeur get into the chopper and leave the
limo behind. 

               DIPLOMAT
          (just as the chopper is about to take off, shouts over
          the noise to Abu)
     This is just a down payment. 

               ABU
          (shouts back)
     You will hear the thunder all the way into the Prince's inner
     chambers. That is my promise to the Prince. 

The chopper takes off. 

CUT TO Abu's men stuffing the money into sacks and carrying them
into a fortified shed. 

CUT TO one of Abu's men putting a big rock on the accelerator of
the limo and jumping out of its way. 

With the limo plowing through the deep sand, we see a SHOT of Abu's
men standing alongside the limo's projected path, with guns at the
ready. 

As the limo approaches each man, he jumps dangerously close in
front of the vehicle, shooting wildly through the windshield, then
frantically jumping out of its way. 

One man's leg is run over by the vehicle; he falls down in agony.
But the exercise continues without anyone batting an eye. 

Finally, the last man shoots at the limo's gas tank; it explodes
into smithereens. 

Abu walks over to the injured man. 

               ABU
     Adel, Adel, what am I going to do with you? 

               ADEL
          (screams in agony)
     Abu, please, get me to a hospital. 

               ABU
     When you asked me to join our mission, did I not tell you you
     are not ready? 
          (almost shouts)
     Did I not ask if you have thought about this? 

               ADEL
     Yes, yes, Abu, I should have listened. 

               ABU
          (shouts furiously)
     You know what this would cost us? You'd be a prisoner now and
     you would tell them everything they wanted to know. 


               ADEL
          (terrified)
     No, no, Abu, you know I would never do that. I would never
     betray you, Abu. 

               ABU
          (steps on Adel's injured leg)
     Even if they did this to you? 

               ADEL
          (screams in agony)
     No ... no ... never. 

               ABU
     Liar. 
          (takes out his gun and shoots Adel in the head)
          (the rest of the men look stunned)
          (shouts at them)
     What are you looking at? 

Like scared rats, they all jump back onto the monkey bars and
continue their exercise. 


INT. LIBRARY - JEWISH THEOLOGICAL SEMINARY - NEW YORK CITY - DAY

Through a second floor window, we see a minor traffic accident on
the street below. The 2 drivers are outside shouting at each other.

               ISAAC (V.O.)
     Diana. (slight pause) Diana. 

CAMERA PULLS BACK revealing ... 

Diana is standing at the window, looking down at the accident.

Behind her is a table full of Judaica books, some in English, some
in Hebrew. On the other side of the table, next to the door, stands
Isaac, who obviously just walked in, with a briefcase in one hand
and a newspaper in the other hand. 

               DIANA
          (turning around)    
     All that over a minor accident. 

With a sad face, Isaac throws down the newspaper on the table with
the headlines facing up. Diana looks disturbed at the headlines:
"24 Dead in 2 Simultaneous Terrorist Attacks In Israel." 


               ISAAC
     I'm trying for two hours now. I can't get through to my
     parents. Cell phones ... forget it. 
          (pause)
     There are no accidents. There are reasons for everything. 
          (pause)
     The state department just issued a travel alert to the Middle
     East. 
          (with despair)
     When will this end?  

               DIANA
     Isaac ... 
          (rushes over to him)
          (in comforting tone)
     ... listen, we don't have to study today. You've been teaching
     me every day for three years now, we can take one afternoon
     off. 

INT. RESTAURANT - LATE AFTERNOON

Diana sits alone at a table set for two, impatiently tapping her
fingers on the table. 

ISAAC ON A PUBLIC PHONE IN REAR OF THE RESTAURANT

               ISAAC
     I love you too, mom. It was great talking to you and dad.
          (hangs up)

DIANA AT THE TABLE

Isaac walks into the SHOT and sits down. 

               ISAAC
     Thank God, I finally got through. 

               DIANA
     Have they ever thought of leaving? 

               ISAAC
     Oh, no. My Parents? Never. Moving to Israel was a dream
     they've been talking about since my childhood in Forest Hills.
     The dream was always there, the money wasn't. 

               DIANA
          (comically)
     I guess they left you here for me. 


               ISAAC
          (with a smirk)
     I keep telling you, there are no accidents. 

They eat soup. 

               ISAAC
     So, what's doing with your vacation? 

               DIANA
     Europe? Moving ahead as planned. 
          (more soup)

               ISAAC
     Things haven't exactly been quiet in France, either, you know.

               DIANA
     People get mugged in New York. 
          (trying to cajole him into coming along)
     But it might be a little safer if you came along? 

               ISAAC
     Right, I'm a real threat to terrorists. 

               DIANA
          (comically)
     Ever try your Rabbinical powers on them? 

               ISAAC
     Unless I can get them to pray with me, I don't think I'd have
     much of an effect. 

               DIANA
     Seriously, though ... 

               ISAAC
     ... Diana, we've gone through this before. You know I can't
     leave in middle of a semester. 
          (more soup)
     Anyway, I don't mean to change the subject .. yes I do ...
     let's change the subject. How's the conversion coming along? 

               DIANA
     One more visit with Rabbi Mallach ... 
          (dunks some bread in duck sauce)
     .. and I have approval. He can't stop talking about how you've
     done a wonderful job. 

               ISAAC
     It was a special case. 

               DIANA
     Don't sell your self short, Isaac, it's your M.O. Even with
     paid students. 

               ISAAC
          (good-naturedly)
     Hey, you've been talking to my students? 

               DIANA
     I used to be a paid student, remember? 

               ISAAC
     Ah, yes. 
          (gulps down a spoonful of soup)

INT. DIANA'S APARTMENT - NEW YORK CITY - NIGHT

WE HEAR BACKGROUND MUSIC OF THE JEWISH LEGEND SHLOMO CARLEBACH

QUICK CLOSE SHOT OF THE SHLOMO CARLEBACH CD COVER 

(Shlomo Carlebach, who resided in New York City and died in 1994 at
the age of 70, composed thousands of songs and performed world-
wide, from Russia to India to Poland to Israel. Many of his songs
have become staples of joyous Jewish occasions.)

As Diana prepares supper for herself, KAREN, Diana's roommate,
about Diana's age, walks in from another room, dressed to go out on
the town. 

               KAREN
          (patting down her dress)
     Well? 

               DIANA
     Looks great. 

KNOCK ON DOOR. 

Karen opens the door; it's TOD, her boyfriend, a handsome guy
around her age. They greet each other with a kiss. 

               KAREN
          (to Diana)
     Oh ... just remembered ... Tod's cousin owns a hotel in
     London. We can get a free room. 

               DIANA
     Karen, we're going to Paris. Thanks anyway, Tod. 


               TOD
          (glances at the CD player)
     You listening to this Carleone guy, again? 

               DIANA
     That's Carlebach. Carleone killed people. 

               TOD
          (good-naturedly)
     Well you're killin' ME with this stuff. 

               DIANA
     Well, you know what they say: One person's poison is another
     person's medicine. 

               TOD
     Look, when Carleone gave poison, it was poison. 

               KAREN
          (playfully slaps Tod)
     Come on, let's go. 

Diana's CELL PHONE RINGS - somewhere. After a few second of
searching, she finds it in her pocketbook. 

               DIANA
     Hello? 
          (listens)
     Hi dad. 

Karen and Tod wave goodby and leave. 

INTERCUT PHONE CONVERSATION between Diana and her father, Ramiro,
who is home in Rochester, New York. 

               RAMIRO
     Diana, when are you getting that phone of yours fixed? I hate
     talking on these things. 

               DIANA
     Dad, you're on a regular phone. I'm on the cell. 

               RAMIRO
     But we both keep breaking up.

               DIANA
     They were supposed to come yesterday. 

               RAMIRO
     I'm sure you heard by now. 

               DIANA
     Heard what? 

               RAMIRO
     The alert. 

               DIANA
     Yes, Isaac told me. 

               RAMIRO
     Well? 

               DIANA
     Well what? 

               RAMIRO
     Can you get your deposit back? 

               DIANA
     What? 

               RAMIRO
     Your plane ticket. 

               DIANA
     Oh, no, dad, we're not canceling the trip. 

               RAMIRO
     What do you mean you're not canceling ... 

               DIANA
     ... dad, the alert is for Israel, not France. 

               RAMIRO
     Diana, it's not safe to travel. Europe isn't safe either. 
          (a second of silence)
     Diana, I want you to cancel the trip. 

               DIANA
     Dad, are you forgetting I'm not ten years old? 

               RAMIRO
     Are you forgetting we help you out with the rent every once in
     a while so you can take a trip? 

               DIANA
          (exasperated)
     Uh ... that's not fair. 

CAMERA AT THE CAMPUZANO HOME PANS FROM Ramiro to Diana's mother,
Mabel, listening nearby. She motions her disapproval of Ramiro's
remarks, then takes the phone from him. 

               MABEL
     Diana, have a good time in Paris. 
          (Ramiro has an angry look)

               DIANA
          (relieved)
     Thanks mom. 

               MABEL
          (whispers to Ramiro, covering the mouthpiece)
     Ramiro, you can't intrude on her life like this. 
          (to Diana)
     Diana, we'll speak later. 

               DIANA
     Okay mom. 

They hang up. 

CAMERA REMAINS IN THE CAMPUZANO HOME

               MABEL
     Ramiro, she's a grown woman. 

               RAMIRO
          (softening up a little)
     I know, Mabel, I'm just worried. 

               MABEL
          (with understanding)
     I know, Ramiro ... I know. 


EXT. WILLIAMSBURG - RABBI MALLACH'S HOUSE - DAY

A CAB DRIVES UP, Diana gets out. 

INT. HALLWAY

Diana knocks on the door and is greeted by an elderly woman. 

               WOMAN
     Yes? 

               DIANA
     I have an appointment with Rabbi Mallach. 

               WOMAN
     Rabbi Mallach won't be back. 

               DIANA
     What do you mean he won't be back? 

               WOMAN
     He's had a little health complication. 
          (Diana is stunned)
     What is your name? 

               DIANA
     Diana. 

               WOMAN
     Oh, yes, Diana, we tried calling you, but your phone is out of
     order. We only have one number for you. 

               DIANA
          (to herself)
     Oh God, the phone's dead. 

INT. CLASSROOM - JEWISH THEOLOGICAL SEMINARY - DAY

CLOSE SHOT OF Isaac. 

               ISAAC
     Are you out of your mind? 

ANOTHER ANGLE, revealing an empty classroom, save for Isaac and
Diana. 

               DIANA
     Isaac, I just needed one more visit. 

               ISAAC
     Diana, there are many competent Rabbi's who can give you the
     final approval. 

               DIANA
     You don't understand, he's been my mentor since college. 

               ISAAC
     Look, it's not like you'd be abandoning him for another Rabbi.
     You can get your approval here. This is not something people
     get insulted over. When things cool off ... 

               DIANA
     ... Isaac, I'm going to Israel. 
          (Isaac look unhappy)
     Come on, your parents live there. 

               ISAAC
     My parents don't hang out in hotels, shopping malls and pizza
     shops. 

               DIANA
          (tears welling up in her eyes)
     Isaac, I don't know how sick he is. I have to see him at least
     once more. 

               ISAAC
     What about your parents? 

               DIANA
     What about them? 
          (pause)
     Isaac, they call once a week. I just spoke to them this
     morning. By the time they call again, I could be back. 

               ISAAC
     Could? 

               DIANA
     Okay, will. 

               ISAAC
     And if not? 

               DIANA
     I'll be back. 

               ISAAC
     Diana, if they call me, I'm not lying for you. 

               DIANA
     You don't have to. Just tell them you'll give me the message. 

               ISAAC
     I don't like this one bit. 

               DIANA
          (irritated)
     You don't have to like it, Isaac. It's my decision. I think
     I'm mature enough to make my own decisions. 

               ISAAC
     No one's questioning your maturity. It's your timing and
     judgement. 


               DIANA
     Don't lecture me now, Isaac. 

She storms out, slamming the door behind her. 

EXT.  BELT PARKWAY - KAREN'S CAR - MOVING SHOT - DAY

INT. DIANA AND KAREN

               DIANA
     Look, Karen, I'm really sorry. 

               KAREN
     It's okay. We can do it some other time. Paris isn't going
     anywhere. 
A few SHOTS of the scenery. 
          (hesitantly)
     Diana ... Tod asked me to move in with him. 

               DIANA
     Oh? 

               KAREN
     I'll be out by the time you get back. 
More scenery. 
          (Diana looks a little sad)
     Come on, Diana, I'm only moving three blocks away. It's not
     like we're not going to see each other. We can do the trip on
     your next vacation. 






INT. JFK AIRPORT TERMINAL BUILDING - DAY

As Diana and Karen hug and kiss goodby, Diana notices a familiar
figure in the sea of airport travelers -- Isaac. 

He steps forward. She walks toward him. They meet half way. 

               ISAAC
     Look, I'm sorry. I shouldn't have ... 


               DIANA
     ... no ...
          (puts two fingers over his lips)
     ... it was my fault. You may be right about my judgement ...
          (Isaac clasps her hand)
     ... I should've told you what's in my heart. 

               ISAAC
     I know. I know what's in your heart. 
          (pause)
     Have a safe trip. 

She heads for the boarding gate, waving goodby. 

CUT TO her plane taking off. 


EXT. MARKET PLACE - ISRAEL - DAY

(Unless otherwise indicated, everyone in scenes in Israel speaks
with middle eastern accent.) 

URI, an Israeli, around 30, and AHMED, an Arab, around 20, are at
a fruit stand, on opposite sides of a table. Obviously not wanting
to be seen together, they talk to each other quietly, without eye
contact, pretending to be shopping. 

               AHMED
     It's set for September 4th. 

               URI
     Which one? 
          (a second of silence)
     Ahmed, which one? 

               AHMED
     I don't know. I just know September 4th. 
          (picks up some fruit and looks it over)
     I will let you know. 

An elderly women walks into the SHOT. 

               WOMAN
     Oh, Ahmed, what are you doing here? 

               AHMED
          (startled)
          (turns his back to Uri)
     Ah, Tessle, how are you? 

               WOMAN
     How is your mother?  

CAR NEARBY

Inside are Abu and one of his thugs. Abu is watching Ahmed through
the cross-hairs of a high-powered rifle. 

               ABU
     A bullet is too good for this traitor. 

He tries to take a shot at Ahmed, but the woman keeps getting in
his way. 

AHMED AND THE WOMAN

               AHMED
     I'm making supper for my mother. 

               WOMAN
     You're a good boy, Ahmed. 

She walks off.  

               URI
     Ahmed, where? 

               AHMED
     Where, what? 

               URI
     September 4th. 

               AHMED
     Ah, yes, September 4th ... this will be ...

A SHOT RINGS OUT. Ahmed falls dead. 

Uri hits the ground for cover. Everyone starts running, screaming,
dropping to the ground, etc. 

Several more SHOTS COME URI'S WAY, but miss. 

               URI
          (shouts into a hidden mike in his sleeve)
     He's been hit. He's been hit. 

Abu's car tears out of its space. A car full of Israeli agents
comes out of nowhere and gives chase. 


A SHORT CHASE SCENE ENSUES

After considerable gunplay on both sides, Abu and his cohort lose
the Israelis by dumping their car and hopping onto motorcycles
planted in advance. They speeding off in rough terrain inaccessible
to cars. 

EXT. BEN GURION AIRPORT - DAY

Diana steps off her flight from New York. 

EXT. CAB - DIANA IN BACK SEAT - MOVING SHOT - DAY

The cab stops on a quiet street. With a paper in her hand, Diana
gets out and looks for an address. 

With AUDIO OFF, we see Diana ringing a bell, then getting into a
short verbal exchange with a woman who comes out on a balcony. The
woman points to the corner. 

The CAMERA DOLLIES with Diana as she walks toward the corner then
turns. There, she encounters a sea of people. There seems to be
some sort of rally, demonstration, or something. 

Glancing at her paper from time to time, she barely manages to
squeeze through the crowd. 

Reaching the center of the crowd, she sees a coffin; it's a
funeral. And, by the size of the crowd, it's obviously for a well-
known person. 

We see a CLOSE SHOT of the address on Diana's paper, as she glances
at it once more. Then the CAMERA ZOOMS in on the street address
directly behind the coffin; they're the same. Diana seems slightly
taken aback. 

She spots a familiar looking Israeli soldier in the crowd talking
to a woman. 

FLASHBACK

Diana is in Rabbi Mallach's New York "waiting room" for the first
time, when Ezra, the Israeli who lost his wife and child in a
terrorist attack, enters and sits down next to her. 

END OF FLASHBACK

The soldier is Ezra. 


Diana frantically pushes her way through to him. 

From a slight distance, we see, but don't hear, Diana greeting
Ezra. She points toward the coffin, obviously asking about the
funeral. His answer comes with a solemn face. Diana breaks down and
cries. 

Ezra tries to console her. He hands her a handkerchief. 

EXT. EZRA'S JEEP DRIVING DOWN THE ROAD - MOVING SHOT - DAY

Ezra DRIVES, the woman is in the passenger's seat, Diana is in the
back. 

               EZRA
     He waited till the last minute. He didn't want to announce
     he's not going to New York, in case he felt better. But he
     never recovered. 
          (glances in the rearview mirror at Diana's anguish face)
     A lot of people are going to miss him. 

               DIANA
     So, when did you come back? 

               EZRA
     I said I was going to get on a plane the day the Rabbi told me
     it's okay. That's exactly what I did. Two years later, I got
     married again. 
          (the woman smiles at Diana politely)
     One month after the wedding, I said, I'm not waiting for them
     this time. This time, I'm going after THEM. 

After driving through some more streets, the jeep comes to a stop
in front of an attractive hotel. 

               DIANA
     Well, it was great seeing you again. Hopefully, next time
     it'll be under more pleasant circumstances. 
          (to Ezra's wife)
     It was a pleasure meeting you. 

               EZRA'S WIFE
     It was my pleasure. 

               EZRA
     Nice to see you again. 

Diana gets out.  

INT. CHECK-IN COUNTER - ELDERLY WOMAN

               CLERK
     I'm sorry, we are all booked up. 

               DIANA
     I called yesterday. 

               CLERK
     Did you make reservations? 

               DIANA
     No. 

               CLERK
     Why not? 

               DIANA
     I was told you're usually not booked this time of the year. 

               CLERK
     That's true. But we got in a group from the states, their
     reservations got mixed up in another hotel ... 
          (looks at her computer)
     ... if you don't mind doubling up, I can put you in with a
     girl from Boston. 

               DIANA
     I'll take it. I don't care if you put me in with a midget from
     Wisconsin. I just need a room. 

HALLWAY - ROOM 57
Diana knocks on the door. A woman slightly younger than her
answers. 

               DIANA
     Hi, I'm Diana. 

               WOMAN
          (with a bright smile)
          (American accent)
     Yes, come on in, I'm Debbie. 

CUT TO A SHORT WHILE LATER

Debbie just came out of the shower, and, still in her bathrobe, is
drying her hair. Diana lies on her bed, relaxing. 

               DEBBIE
     If you feel up to it, you're welcome to join us. 


LOBBY
Debbie comes out of the elevator to a waiting group of about six
women and four men, around her age. All are dressed casual-neat,
ready to paint the town. (All speak with American accents.)

               ONE WOMAN
          (good naturedly)
     Debbie, why are you always the last one? 

               DEBBIE
     I have a new roommate. 

               ONE WOMAN
     How about the airport, yesterday? 

               DEBBIE
          (playfully nudges her)
     Oh, Rita, stop kvetching. 

INT. FANCY RESTAURANT - NIGHT

Debbie and her gang, without Diana, are shown to a table by the
maitre d'. 

INT. ISAAC'S PARENT'S APARTMENT - DINING ROOM - NIGHT

ISAAC'S PARENTS, MOISH and HELLEN, who speak with Jewish accents,
and Diana, are seated around the dinner table. 

Diana's dialogue in this scene is low keyed; she's still down from
her day's ordeal. 

               HELLEN
     You didn't have to go to a hotel. We have plenty of room. 

               DIANA
     No, I couldn't impose. With your recovery and all; I just
     couldn't. 

               HELLEN
     Nah, my angioplasty was weeks ago. My heart's fine, I'm fine.
     It would've been no trouble at all. 

               MOISH
     Diana, it's not good to be depressed. 
          (eats vegetables)
     You have to just pick yourself up and move on. 


               HELLEN
     We learned that the hard way in the camps. 
          (takes in a little roast beef)

               DIANA
     Isaac told me.  

               HELLEN
     Did he tell you we were both married? 
          (Diana munches on some crackers)
     I had two sons. 
          (points to Moish)
     He had a daughter. 

               MOISH
     All gone. 
          (more vegetables)
     I know you can't compare the two situations, but how you
     handle one pain, that's how you handle another pain. You
     always have to look for the light. 
          (eats some meat)
     It's there, you just have to look for it. 

EXT. MONTAGE OF DIANA HANGING OUT WITH DEBBIE'S GROUP - MORNING

We see the group snapping pictures of each other riding camels,
conversing with Israeli soldiers on tanks, and watching an air show
of Israeli jets. 

We also see them in various tourist hot spots; the Temple Mount,
Mossada, Mt. Sinai, etc. 

For lunch, the group settles down at a table in an outdoor cafe in
the Ben Yehuda shopping plaza. This is the same cafe and the same
table that appeared in the opening scene explosion (but not yet all
the same people). 

They eat, drink, laugh, and just seem to be having a great time. 

A SHOT OF 2 ISRAELI SOLDIERS NEARBY; the same ones from the opening
scene. 

END OF MONTAGE

Noticing a public phone across the street, Diana excuses herself.

CUT TO PHONE CONVERSATION between Diana and Isaac. 

               DIANA
     Your parents are something. 

               ISAAC
          (comically)
     Why do you think I picked them? 

               DIANA
     That pep talk really got me going again. 
          (pause)
     My parents ... they call yet? 

               ISAAC
     It's only been three days. 
          (Diana's about to say something)
     And I won't call them. 

               DIANA
          (relieved)
          (jokingly)
     You read my mind so well. 

               ISAAC
     Right. As many times as you've mentioned it, I could've
     remembered your car VIN number by now. 

Laughing, Diana notices a familiar face a few feet from the phone
booth; GREGG SALZMAN. He's window shopping with a woman, SHERRI
WISE; both are American and roughly Diana's age. (These are the two
people Diana was with during the opening scene explosion; their
faces were seen at that time, but not Diana's.) 

               DIANA
     Oh, God. 

               ISAAC
     What? 

               DIANA
     Someone I haven't seen in ... oh ... I can't believe it.
     Isaac, speak to you later. 

Diana hangs up and rushes over to Gregg and Sherri, who are now
looking through the window of a WATCH STORE.  

               DIANA
     Gregg?  

               GREGG
          (turns around)
     Diana? 

They kiss with a friendly embrace. 

               GREGG
     I can't believe this. 
          (pause)
     Diana, this is Sherri. 

               SHERRI
     Hi. 

               DIANA
     Hi. 

               GREGG
          (looking at Diana)
     Oh, God ... how long's it been?  

               DIANA
     Ten years, I think. 

               GREGG
     Don't tell me ... you live in Israel? 

               DIANA
     No, no, just visiting. 

               GREGG
          (to Sherri)
     We met at an Hospice when we first moved to New York. 

               DIANA
          (points to her group)
     Hey, why don't you guys join us. 

               GREGG
     Sure. 

As they cross the street, the CAMERA PANS BACK TO A DIGITAL CLOCK
IN THE STORE WINDOW. It reads: September 4, 1997 - 2:02 PM

DEBBIE AND HER GANG
Diana, Gregg and Sherri APPROACH IN THE BACKGROUND. 

               DEBBIE
          (looks at her watch)
     Oh, God, we have to start getting ready for the ceremony!  

Diana and company approach. 

               DIANA
     Guys, I want you to meet some friends, Gregg, Sherri. 

They all say a polite hi, as Debbie's crowd gets up. 

               DEBBIE
     Look, we hate to run like this, but we'll be late for that
     ground-breaking ceremony, if we don't leave like ten minutes
     ago. 
          (pause)
     Hey, you can join us. 

               DIANA
          (looks at Gregg and Sherri, who don't seem very
          responsive to the idea)
          (to Debbie)
     Uh ... we have some catching up to do. I'll catch you guys
     back at the hotel later. Oh, before you go ... 
          (points to Debbie's camera)
     ... you mind? 

               DEBBIE
     Sure, no problem. 

Diana, Gregg and Sherri sit down at the table, Debbie snaps a
picture. 

(This was the last picture taken of Diana, Gregg and Sherri before
the attack. The actual photo taken can be seen at
www.innocenttarget.com.) 

               DEBBIE
     Hey, nice meeting you guys. 

               GREGG
     Same here. 

               SHERRI
     Nice meeting you. 

Debbie's group leaves. 

               DIANA
          (to Gregg)
     So ... how did that first job work out? 

               GREGG
     Great. I was there for a couple of years. 

Diana, Gregg and Sherri continue to converse, but all
CONVERSATIONAL SOUND IS LOWERED TO THE POINT OF BEING INAUDIBLE,
and the STREET'S BACKGROUND NOISE COMES TO THE FOREFRONT. 

FADE TO about an hour later. 

They're still eating, drinking and conversing. 

AT THIS POINT, WE HAVE A REPEAT OF THE OPENING SCENE. 

Some of the CAMERA ANGLES should be identical to those of the
opening scene, allowing the audience to recognize that this was in
fact the opening scene. The major difference being, that in this
repeat scene we see Diana's face, whereas in the opening scene we
did not.

REPEAT OF OPENING SCENE BEGINS

Among the throngs of people moving in and out, 3 MEN IN OVERCOATS,
a little overdressed for this weather, walk in, nervously shifting
their eyes from side to side. One of the men is poorly disguised as
a woman. Diana's eyes are diverted to this guy. 

               DIANA
     That's odd. 

               GREGG
     What? 

               DIANA
     A guy dressed in drag ... in Israel? 

Somewhat apprehensive, Diana turns her attention to the 2 ISRAELI
SOLDIERS with machine guns just outside the cafe. 

Suddenly, one of the 3 men slips his hand under his overcoat. 

               DIANA
     (jumps up and shouts)
          No!

The soldiers swing around instantly, raising their guns. But not
quickly enough. 

The three men activate detonators under their overcoats -- creating
three HUGH EXPLOSIONS, in rapid succession

The explosions rip through the cafe, picking up Gregg and hurling
him 8 feet away. Tables, chairs and other patrons go flying. 

When the smoke clears, we see Gregg with a broken leg, Sherri burnt
over 30% of her body, and Diana bleeding profusely from the face.
There are also dead bodies and body parts strewn about. 

CUT TO SEVERAL MINUTES LATER

Ambulances, cops, military personnel and the news media are at the
scene. 

As Diana, in critical condition, is carried from the rubble into an
ambulance, she is photographed by just about every photographer at
the scene. But her face cannot be seen through all the blood. 

A PARKED CAR CLOSE TO THE CARNAGE
Inside are ABU and a cohort. 

               ABU
          (looking with glee at the dead bodies)
     Excellent. 

They drive off. 

END OF OPENING SCENE

INT. HADASSAH HOSPITAL

Strapped to a gurney, with tubes in her veins and mouth, Diana, in
her bloody clothes, is rushed through a few corridors. A slew of
doctors and nurses, some helping to wheel the gurney, some just
trying to keep up with the frantic pace, follow. 

A nurse rushes over. 

               ONE DOCTOR
          (to the nurse)
     We have partial collapse of the skull. 

               NURSE
     O.R. 4. 

They turn a corner, to O.R. 4. 

CLOSE SHOT OF Diana's face: it is totally unrecognizable. 

A second doctor tries to adjust the tube leading into her mouth. 

               THIRD DOCTOR
     Keep the tracheal passage clear. 

               SECOND DOCTOR
     I'm trying, doctor. 

               THIRD DOCTOR
     If that last millimeter closes up, there's no point in going
     to O.R. 

As they turn around another corner, Ezra, in uniform, comes rushing
up from behind them. 


               EZRA
     Doctor, which one is this?

               FIRST DOCTOR
     I don't know. We have 8 critically injured; the only thing I
     can tell you for sure is that this is one of the more serious
     ones. 

               SECOND DOCTOR
     She's an American. 

               EZRA
          (on edge)
     A name, doctor. Do you have a name? 

               SECOND DOCTOR
     Her papers are up front. It's Diana ... Diana something. 

               EZRA
     How bad? 

               FIRST DOCTOR
     If we can get her through one night, we'll call it a miracle. 

Stunned, Ezra stops in his tracks. The doctors recede with Diana
into the BACKGROUND. 


EXT. NEWSSTAND, ROCHESTER, NEW YORK - DAY

CLOSE SHOT OF NEWSPAPER HEADLINES, similar to the SHOT in the
opening scene: "Terrorist Attack in Israel kills 7, Wounds 192, 8
Critically"

CAMERA PULLS BACK revealing a newsstand. 

Ramiro, Diana's father, passes by, carrying some groceries,
completely oblivious to the news. 

EXT. CAMPUZANOS' HOME

Ramiro enters. 

INT. 
On his way to the kitchen, Ramiro notices the telephone answering
machine blinking, but keeps walking. 

Before Ramiro has a chance to put the groceries down, the PHONE
RINGS. He picks it up. 

               OPERATOR
     Hello, this is the operator. I have an emergency call from
     Israel. Will you accept the call. 

               RAMIRO
     Sorry, I know no one in Israel. 
          (hangs up)

INT. PUBLIC PHONE, HADASSAH HOSPITAL, ISRAEL - NIGHT

Ezra is on the phone with the operator. 

               EZRA
     Operator, can I get the number, please? 

               OPERATOR
     Sorry, the number is unlisted. 

               EZRA
     This is an emergency. 

               OPERATOR
     Sorry, I can only connect you, I can't give out the number. 

BACK TO THE CAMPUZANOS' HOME
Ramiro has just started shelving the groceries, when the phone
rings again. He picks it up. 

               OPERATOR
     Hello, this is the operator. I have a collect call ... 

               RAMIRO
     ... operator, I don't know anyone in Israel, I'm not accepting
     the call. 

               OPERATOR
     Excuse me? 

               RAMIRO
     I said, I don't know anyone in Israel. 

               OPERATOR
     Sir, this call is not from Israel. This is a collect call from
     a Mabel in Arizona. 

               RAMIRO
     Oh ... oh, yes, put the call through. 

The operator connects them. 


               MABEL (Diana's mother)
     Ramiro, what's going on? 

               RAMIRO
     Nothing, I got some wrong number from Israel. 
          (pause)
     So, how's Phoenix?

               MABEL
     We're not in Phoenix. We're in ... oh, I don't know where we
     are. We got a flat in middle of nowhere. Getting change and a
     phone that works around here is impossible. It's been some
     day, let me tell you. 

               RAMIRO
     Well, don't you have the AAA card? 

               MABEL
     They already fixed it. 
          (CUT TO Mabel on a public phone in a gas station. Jorge,
          Diana's brother, is in the car as it's being filled up)
     It took them over an hour to get to us ... don't ask. Ramiro,
     call the Glenmore in Phoenix and push our reservations off a
     day. 

               RAMIRO
     Mabel, you call this a vacation? 

               MABEL
     Well, no Ramiro, getting a flat wasn't part of the plan. 

               RAMIRO
     This is why I don't go to these things. 

               MABEL
     Please, Ramiro, just call the hotel. 

               RAMIRO
     Where are you staying tonight? 

               MABEL
     First place we find. 

WIPE TO LIVING ROOM OF CAMPUZANOS' residence, later that night. 

With a newspaper next to him, Ramiro is asleep on the couch in
front of an open television. THE PHONE RINGS. Sluggishly, he picks
it up. 


               RAMIRO
     Hello. 

               OPERATOR
     Hello, this is the operator. I have an emergency call from
     Israel. Will you accept the call? 

               EZRA
          (shouts in the background on the other end)
     It's about your daughter! Operator, tell him it's about his
     daughter. 

               OPERATOR
     He says it's about your daughter. 

               RAMIRO
          (thinks for a moment)
     Operator, this must be some kind of mistake. My daughter is
     not in Israel. Who are you looking for? 

               OPERATOR
     Is this the Campuzano residence? 

               RAMIRO
     Yes. 

               EZRA
          (shouts in background)
     It's about Diana. 

               RAMIRO
          (startled, not sure he heard right)
          (and still not convinced)
     Operator, there's obviously been some kind of mixup here. My
     daughter is in New York. Please double check the number. 
          (hangs up)

He sits back on the sofa, staring into thin air, not sure what to
make of it. He then picks up the phone and just holds it, as though
debating whether to dial. 

INT. HALLWAY IN FRONT OF DIANA'S APARTMENT

Karen, Diana's roommate, and her boyfriend, Tod, hold several
suitcases as they exit the apartment. 

               KAREN
          (as she locks the door)
     I'm gonna miss this place. 
          (they head for the elevator)

               TOD
     This, took so long to pack? 

               KAREN
     The phone guy was here all day. I knew they'd fix it when I
     leave. 

THE PHONE RINGS LOW IN THE BACKGROUND; Karen and Tod don't hear it,
and continue toward the elevator. 

CUT TO INTERIOR of Diana's apartment -- THE PHONE'S RINGING IS NOW
EAR-PIERCING. 

CUT BACK TO RAMIRO

               RAMIRO
          (leaves message in Diana's recorder)
     Diana, please call as soon as you get in. 

As he hangs up, he takes another look at their answering machine.
This time he plays back the messages. 

MESSAGE 1: Mr. and Mrs. Campuzano, this is Mr. Miller from the U.S.
State Department in Washington. Please call us as soon as you get
this message - 202-555-8529. Thank you. 

MESSAGE 2: Mr. and Mrs. Campuzano, this is Mr. Miller from the U.S.
State Department in Washington. Your daughter, Diana, is fine now,
but she's been the victim of a terrorist attack in Israel. Please
call us the moment you get this message - 202-555-8529. Thank you. 

               RAMIRO
     Oh God. Oh God. 

He frantically dials the State Department's number. It's busy. He
dials again; it's busy. He then dials the operator. 

               RAMIRO
     Operator, this is an emergency call to 212-555-8529. 
          (the operator also gets a busy signal)

               OPERATOR
     I'm sorry, the circuits are busy. 

               RAMIRO
     Operator, please try again. 


               OPERATOR
          (after getting another busy signal)
     I'm sorry, the circuits are still busy. Please try again in a
     few minutes. 

After hanging up, Ramiro runs to his desk, ruffles through a batch
of papers, and takes out what appears to be a hotel reservation. He
dials the hotel number. 

               RAMIRO
     Hello, I'd like to leave a message for a Mabel Campuzano. 

               CLERK (INTERCUT)
     Just a moment, please. 
          (checks her computer)
     I'm sorry, she hasn't checked in yet. 

               RAMIRO
     I know she hasn't checked in yet. If she does or she calls for
     any reason, to confirm, to cancel, whatever, tell her to call
     her husband immediately -- it's an emergency. 

               CLERK
     Okay, I'll make note of it. 

Ramiro hangs up, but keeps his grip on the phone for a few seconds,
not knowing what to do next. 

He takes out his wallet, goes through his license, registration and
so on, till he gets to his AAA card. He dials their number. 

               RAMIRO
     Hello, this is an emergency. My wife had a flat fixed within
     the last couple of hours. I believe it was in Arizona. I need
     to know what town that was in. 
          (listens)
          (looks at his AAA card)
     269958011.
          (listens)
     Thank you. 
          (hangs up)
          (to himself, as he dials the operator)
     Oh God, let there be less than twenty motels. 
          (listens)
     Operator, please connect me to the information in Clifton,
     Arizona. 
          (listens)
     Thank you. 
          (listens)


     Yes, can I get the names of four of five motels in Clifton? 
          (listens)
          (excitedly)
     Yes, please. 
          (writes down a phone number)
     Thank you. 
          (hangs up)
          (to himself, as he dials)
     Thank God, only one motel. 

INT. ROOM IN SMALL RUNDOWN MOTEL IN CLIFTON, ARIZONA - NIGHT

Mabel and Jorge are getting ready to retire for the night when THE
PHONE RINGS. Mabel picks up. The CAMERA SLOWLY DOLLIES IN to
capture the expression of horror on her face as she listens. 

EXT. TERMINAL BUILDING, PHOENIX INTERNATIONAL AIRPORT - NIGHT

Mabel's car comes to a halt in front of the building. Mabel gets
out, Jorge takes the wheel. 

               MABEL
     Drive safely. Call as soon as you get home. 

               JORGE
     Okay. 
          (about to drive off, remembers, shouts out the window)
     Mom, where's my ticket? 

               MABEL
     Jorge, we need you at home. No one'll know we're away. 

Jorge drives off, Mabel enters the terminal building. 

THE CAMPUZANO RESIDENCE - RAMIRO IS ON THE PHONE

With CNN ON THE TV IN THE BACKGROUND, Ramiro looks pretty shaken as
he listens to someone on the other end. 

               MAN (V.O.)
     The Israeli government will pay for everything; planes,
     hotels, everything. They have tickets waiting for you and your
     family at the El-Al counter. 

As Ramiro hangs up, the CAMERA PANS to a CNN report on TV: "The
explosion in Jerusalem's Ben Yehuda Plaza claimed 7 lives and
wounded 192. 8 were critically injured." WE SEE FOOTAGE of Diana
being carried from the rubble, her face completely covered in
blood. 

               RAMIRO
     Oh God, I know that's her. 

INT. TERMINAL BUILDING, JFK AIRPORT, NEW YORK - NIGHT

Mabel arrives from her flight from Phoenix. 

Ramiro waits for her, with El-Al tickets in hand. She approaches
him with tears, they hug for moment, then rush off. 

WIPE TO AN EL-AL GATE

Ramiro and Mabel board a flight to Israel. 

INT. HADASSAH HOSPITAL, INTENSIVE CARE UNIT (ICU) - ISRAEL - DAY

Diana is unconscious, heavily sedated and hooked up to various
MEDICAL EQUIPMENT. She is BANDAGED EXTENSIVELY AROUND THE HEAD AND
UPPER PART OF HER BODY. HARDLY ANY PART OF HER FACE SHOWS THROUGH.
TUBES RUN INTO HER HAND, NOSE AND MOUTH. 

The CAMERA PANS to a doctor standing next to her bed, looking at
her chart, shaking his head. A second doctor walks in. 

               FIRST DOCTOR
          (disheartened)
     7 and a half hours of surgery. 

               SECOND DOCTOR
     Her parents are on the way. 

               FIRST DOCTOR
     Let's hope they get here soon. 

INT. TERMINAL BUILDING, BEN GURION AIRPORT - DAY

Ramiro and Mabel step off their flight from New York. 

EXT.

Coming out of the terminal building, they pass several jeeps,
looking at their official numbers. Finally, they stop at one with
Ezra in the driver's seat and a higher ranking officer in the
passenger's seat. 

               RAMIRO
     Ezra? 


               EZRA
     Mr. and Mrs. Campuzano. 

Ramiro and Mabel climb in.

               OFFICER
     The hotel is all taken care of. 

They drive off. 

INT. HADASSAH HOSPITAL

Led by Ezra and the officer, Ramiro and Mabel are rushed through
corridors full of reporters and anguished relatives. 

At one point they pass a couple of nurses wheeling a body on a
gurney completely covered with a sheet, followed by a man and a
woman crying. 

Diana's parents arrive at ICU. A nurse takes them in, Ezra and the
officer stay out. 

Inside, they see a line of beds, everyone of them occupied. 

As they pass one patient after another, they notice one that's
bandaged over most of the body. 

               RAMIRO
          (quietly to Mabel)
     Oh God, look at this one. 

They keep walking. In a second they realize they lost the nurse.
They look back and see her standing by the bed of that patient
bandaged over most of the body. They walk back to the nurse. The
nurse points at the patient -- that's Diana. 

Mabel collapses into Ramiro's arms in tears. 

WIPE TO waiting room.

Along with other patients' relatives, Ramiro and Mabel nervously
wait. 

Doctor SHMUEL BERGER, a man around sixty, walks in, pulls up a
chair and sits down next to them. 


               DOCTOR
     The nasal reconstruction was successful. The plate we
     installed ... 
          (points to his skull)
     ... it causes a little swelling in the brain area, which is
     expected ... 
          (Ramiro and Mabel don't look too reassured)

               RAMIRO
     ... doc ... level with us ... 

               DOCTOR
     ... it'll take at least forty eight hours. We just can't say
     at this point. 

               RAMIRO
     What are the chances? 

               DOCTOR
          (hesitates for a moment) 
     Look, I've seen patients with this kind of trauma pull
     through. 

               RAMIRO
     So what you're saying is ... 

               DOCTOR
     ... what I'm saying is, considering what she's been through,
     she's doing as well as can be expected. It's in God's hands
     now. We'll see in the next 48 hours. 
          (Mabel and Ramiro look at each other with anguish etched
          in their faces)
     Look, why don't you go back to the hotel. There's nothing you
     can do for her right now. We'll call you the moment there's
     anything. 

CUT TO the Burn Unit. 

With burns over 30% of her body, Sherri is bandaged quite
extensively throughout her body. 


Although heavily sedated, she is conscious. 

Her grief-stricken parents, GILDA and MORT, are at her side. 

               GILDA
     I don't understand how this can happen? 


               MORT
          (trying to comfort her)
     Gilda, it'll be alright. She's responding to treatment. 

BACK TO RAMIRO AND MABEL - DOCTOR BERGER IS GONE

               MABEL
     Ramiro, you go first. 

               RAMIRO
     No, Mabel, go back to the hotel, get some rest. You can come
     back in the morning. I have time. 

               MABEL
          (as she inches toward the door)
     Call me as soon as ... 

               RAMIRO
     ... don't worry, I'll call you. 

Mabel leaves. 

EXT. 

As Mabel exits the hospital and hops into a cab, the CAMERA PANS TO
AN APPROACHING MOTORCADE OF SEVERAL SUVs WITH TINTED GLASS WINDOWS.
It stops at the hospital entrance, and is immediately surrounded by
news reporters. 

Along with a throng of security personnel, Prime Minister Benjamin
Natanyahu emerges from the motorcade. Only a couple of the news
reporters are allowed into the hospital with the Prime Minister. 

INT. GREGG'S ROOM

Although somewhat banged up, Gregg is the least injured of his
friends, and is fully awake and lucid. 

As he sips a cup of orange juice, a whole commotion suddenly comes
into his room: Prime Minster Benjamin Natanyahu and his entourage. 

Gregg props himself up, with a bright smile. 

(An actual photo of Prime Minster Benjamin Natanyahu talking to
Gregg can be seen at www.innocenttarget.com.) 


               NATANYAHU
          (delighted that Gregg's injuries are not serious)
          (comically)
     Mr. Salzman, your parents were not easy to track down. Do they
     always go on such exotic vacations? 

               GREGG
          (laughing)
     Only when they're trying to get away from me. 

               NATANYAHU
     Well they did a good job. We had an easier time tracking down
     Abu Nidal in his heyday. 

One of Natanyahu's aids speed-dials a number on his cell phone and
hands it to Gregg. 

               GREGG
          (into phone)
     Hello. 
          (listens)
     Dad. 
          (listens)
     I'm fine. It's not serious. 
          (listens)
     I'm relaxing.  I'm hanging out with the Prime Minister. 
          (Natanyahu smiles)
     Hello ... you're breaking up. Hello? 
          (to aid)
     Lost him. 
          (hands the phone back to the aid)

               AID
          (after trying once or twice to redial)
     The signal's not coming through. 

               NATANYAHU
          (as he and his entourage head for the door)
     They'll be here soon ... maybe four or five hours or so. 

               GREGG
     Prime Minster, how're Diana and Sherri? 

               NATANYAHU
          (hesitates for a moment)
     They'll be fine. You were the lucky one. 

               GREGG
     Did you find those responsible? 

               NATANYAHU
     We don't have to. 
          (pause)
     We know. 

EXT. SKYS OVER THE DESERT NEAR ABU'S BOOT CAMP - DAY

THREE ISRAELI ATTACK HELICOPTERS FLY IN FORMATION 

The various CAMERA ANGLES and BACKGROUND MUSIC should add to the
anticipation that dramatic events are about to unfold. 

(Descriptions in the following action sequences will be limited to
highlights and outcome. Detailed choreography, will be left to the
director or production.) 

ABU'S BOOT CAMP
Although Abu is nowhere in sight, about three dozen of his
terrorist goons are in full training; shooting at dummy targets,
jumping over barbed-wired obstacles, hand-to-hand combat, etc. 

They HEAR THE SOUNDS OF HELICOPTERS APPROACHING. Everyone freezes.

               ONE TERRORIST
          (the moment the THREE ISRAELI CHOPPERS COME INTO VIEW)
          (shouts)
     Israeli! 

Everyone runs for cover into TRENCHES AND SHACKS, brandishing
weapons of every kind -- guns, grenade launchers, sub-machine guns,
sticks of dynamite, etc. 

Both sides open fire almost simultaneously. A fierce battle ensues.

After some casualties on the terrorists' side, one of the choppers
is hit and forced to crash land. The occupants are okay, but have
a hard time keeping the terrorists, who are moving in on them, at
bay. 

The two choppers still in the air, struggle between fending off the
barrage of gunfire and trying to protect their comrades on the
ground. 

Eventually, one of the choppers makes a daring landing. The crew of
the downed chopper hops on. 

The moment the rescue chopper takes off, the fire from both
choppers is stepped up to a fever pitch; the terrorists are picked
off one by one with machine gun fire and small explosives until
none are left standing. 

The two choppers fly over the area several times. From the
choppers' POV, we see motionless bodies, the downed chopper, and a
landscape disfigured with craters. The choppers leave. 


EXT. SOMEWHERE IN INTERNATIONAL WATERS, MIDDLE EAST - DAY

TWO SEASTAR PETURI AMPHIBIAN PLANES (small, single-engine, two-
seaters) are on water, all revved up and ready to go. The passenger
seat of each plane is loaded with explosives. 

Nearby, is a YACHT WITH A DECK FULL OF ELECTRONIC EQUIPMENT: RADIO
COMMUNICATIONS, RADAR SCOPE, etc. 

One of the planes takes off. After reaching an altitude of about
300 feet, and as it is being TRACKED ON THE YACHT'S RADAR SCREEN,
the plane dives. The moment it disappears from the radar screen,
the CAMERA PANS to the radar operator: it's Abu, very much alive. 

               ABU
          (shouts into the radio)
     Go! 

The second plane takes off. The moment the second plane appears on
the radar screen, Abu has a look of disgust. 

               ABU
          (angrily)
     No! Too soon. You must stay low. 
          (very agitated)
     Back ... from the beginning. 

HIS CELL PHONE RINGS. Abu answers it. 

               ABU
     Yes.
          (listens several seconds)
          (slams down on the equipment in anger)
     Son of a bitches! 

ABU'S BOOT CAMP
One of Abu's men, critically injured but still alive, apparently
had enough life left in him to call on his cell phone. 

               MAN
          (barely manages to get the words out)
     They ... they got everyone ... 
          (drops the phone and dies)


BACK TO ABU'S YACHT
Furious, Abu throws down the phone. 

By now the two planes are back on water and ready to take off
again.  

               ABU
          (shouts)
     Go! 
          (with fury, as one plane takes off again)
     This will be a holiday they will never forget! 

INT. HOTEL ROOM - RAMIRO - NIGHT

INTERCUT PHONE CONVERSATION with Isaac.

               RAMIRO
     There's no change. 

               ISAAC
     Give it some time. It's only thirty-six hours. 

               RAMIRO
     I don't know. 
          (pause)
     Isaac .. bring the Carlebach tapes. 

INT. WAITING ROOM - HADASSAH HOSPITAL

Mabel has dozed off. 

Suddenly, A LOUD BUZZING SOUND IS HEARD. 

CUT TO THE ICU NURSE'S DESK

               NURSE
          (frantically, into speaker system heard throughout the
          hospital)
     ICU 5, ICU 5, ICU 5. 

Several doctors and nurses rush to Diana's bed. 

WAITING ROOM
Mabel has woken. 

               MABEL
          (to herself)
     Oh God, ICU 5. 

She runs to Diana's bed. 

DIANA'S BED
One of her vital-functions monitors has flatlined. 

               ONE DOCTOR
     Re-intubate! 
          (to one of the nurses)
     Nurse, we need an endotracheal tube. 

               MABEL
          (with a look of horror, shouts)
     Do something! 
          (rushes over to the bed)

One of the nurses restrains her and gently moves her away from the
commotion. 

Another nurse rushes to a cabinet and pulls out a tube similar to
the one in Diana's mouth and hands it to one of the doctors. The
doctor removes the tube from Diana's mouth, performs CPR, then
inserts the new tube. Another doctor turns a lever on the oxygen
valve, increasing it's flow. 

SHOT OF THE MONITOR - Diana's vital sign slowly returns. 

               NURSE
     It's coming back. 

They breath a sigh of relief. 

A LITTLE LATER - IN A CORRIDOR OUTSIDE THE ICU

DOCTOR BERGER, RAMIRO and MABEL

               RAMIRO
          (loud and irritated)
     This is our daughter, for god's sake! 

               BERGER
     Mr. Campuzano, I assure you she's getting the best possible
     care. 

               RAMIRO
     Doctor, she almost died tonight. 

               BERGER
     Look, we're not god, but we've restore to health people in
     worse shape. In spite of what happened tonight, there is still
     much reason for hope. 


               MABEL
     That's easy for you to say, doctor. It would be different if
     it were your child. 

               BERGER
     No, Mrs. Campuzano, it's not easy for me to say. My son was
     not that lucky. He was doing his first year residency, when an
     injured patient he was treating stabbed him. He never made it
     to the operating room. 


INT. SECRET MILITARY SURVEILLANCE AND STRATEGY FACILITY - ISRAEL

The facility is full of computers, consoles, satellite monitoring
scopes, maps, conference rooms, etc. EVERYONE IS IN MILITARY
UNIFORM. 

               SOLDIER
          (with a headset and mike, sitting in front of a console)
     Abu Atef is on his way to Paris. 

INT. BEN GURION AIRPORT TERMINAL BUILDING - DAY

Passing a security checkpoint, three Israeli Mossad (secret
service) agents flash badges and enter a gate for an outbound
flight. 

The CAMERA PANS to another gate: Isaac steps out, arriving from New
York. 

INT. DIANA'S ROOM, ICU - HADASSAH HOSPITAL - DAY

Isaac has a small CD player on Diana's bed, playing Shlomo
Carlebach music, anxiously looking for signs of movement. 

CAFETERIA - RAMIRO AND MABEL AT A TABLE SIPPING COFFEE

               MABEL
     He's been at it for two days now. 

               RAMIRO
     Well it can't hurt. I've heard stories ... 

               MABEL
     ... that's just what they are -- stories. She's in a coma,
     Ramiro. He's going to bring her out with music? Come on, be
     real. 


INT. PENTHOUSE SUITE - PLUSH HOTEL - PARIS, FRANCE - DAY

The diplomat who gave Abu a trunk full of money earlier, sits at
the center of a long table in a LARGE ROOM WITH SEVERAL DOORS. Two
Arab men wearing Ghutrahs (Arab headdress), sit on each side of
him. In front of them, stand Abu and two of his men. Two burly men
stand guard at what is obviously the main entrance. 

               DIPLOMAT
          (slams down hard on the table)
          (furiously)
     We've already FINANCED the training! 

               ABU
          (loud and defiantly)
     This is a high-risk game. I have no control over the Israelis.

One of the diplomat's men jumps up. 

               MAN
          (shouts at Abu)
     You will speak with respect when you address Sheik Alhazmi. 

The diplomat (Alhazmi) motions to his man it's okay; he sits down. 

               ALHAZMI
          (to Abu)
     If you can't protect your men in the desert, how will you
     protect them when the operation enters its final phase? 

               ABU
     I have completed many operations for you. I have successfully
     eliminated over two hundred infidels. 

MAIN FLOOR LOBBY
The three Israeli Mossad agents, dressed in business attire, enter.

Upon approaching the elevator bank consisting of three elevators,
they notice one elevator is guarded by two husky bouncer-types. One
guest approaches that elevator and is waved away to the other two
elevators. 

The agents split up: two of them head for the staircase, while the
third heads for the elevators. Along with two other guests, this
one agent enters one of the unguarded elevators. 


INT. ELEVATOR

The agent presses a floor above the floors of the other two guests.
As soon as the elevator reaches his floor (after the other two
guests have gotten off), he presses LOBBY. 

Moment later, he presses the STOP button, stopping the elevator
between the first and second floors. An alarm goes off. 

The agent quickly jumps up to the small exit trapdoor on top of the
elevator, climbs out, jumps down a couple of feet to the top of the
adjacent elevator, enters it through it's trapdoor, and pushes the
second floor button. 

LOBBY
The two guards notice the display of the elevator they're supposed
be guarding go "up." They radio their comrades in the penthouse
suite. 

PENTHOUSE
The two burly men run out to the elevators. 

SECOND FLOOR
The elevator with the agent in it stops, the two other agents get
in, and the three head for the penthouse. 

PENTHOUSE
The two big guys arrive just in time, with guns drawn, to see the
elevator with the Mossad agents in it arrive. The door opens; but
the elevator is empty. 

One of them enters, looks around, then tries to open the trapdoor
on top. It won't budge. Figuring it's just stuck, he takes the
elevator down. 

Once in the lobby, he pokes his head out, looks at the other two
guys, they all shake their heads in confusion. He then takes the
elevator back up to the penthouse. 

TOP OF THE ELEVATOR

The Mossad agents are all standing on the trap door. 

A second after the burly guy leaves, the Israelis climb down. 

PENTHOUSE SUITE - THE MEETING

The burly guys come back in, one of them shrugs his shoulders at
Alhazmi. 

               ALHAZMI
          (to Abu)
     The people you have eliminated till now were mostly unarmed
     civilians. This will be different. This will be a direct
     challenge to the Israeli military. 

               ABU
     I am confident we will succeed. 

               ALHAZMI
     And you think more money will protect you? 

KNOCK ON THE DOOR

Everyone freezes. 

One of the guards opens the door; no one's there. 

He draws his gun and steps out. When he doesn't return after few
seconds, the second guard goes after him. When he doesn't return,
just about everyone in the room draws a gun. 

NEXT ROOM

The three Israelis wait quietly. Two of them hold the dead bodies
of the guards, both of whom have been shot once in the head with
pistols with silencers. 

The Israelis simultaneously drop the bodies. 

MEETING ROOM 
A loud thud is heard. 

Everyone jumps for cover. A second later, the three Mossad agents
rush in, guns blazing. 

Bullets fly from both sides, in every direction. 

Several seconds into the gun battle, Abu shoots off the lock on one
of the doors to an adjoining suite. He dodges a few bullets, but
manages to slip out. 

The Israelis are kept from pursuing him, cornered by a hail of
bullets. 

ADJACENT SUITE
Abu runs through the suite, knocking over a few objects. 

HALLWAY
Abu runs from the suite into the elevator. 

BACK TO THE GUN BATTLE
By now half the arabs are dead, one of the Israelis is bleeding
from a shoulder, and Alhazmi is on the floor, mortally wounded. 

The Israelis inch toward the door. After a few more seconds of gun
play, they slip out. The Arabs are to weakened to pursue them. 

HALLWAY
The Israelis rush down the staircase. A second later, the elevator
door opens; the two guards from the lobby go running into the
meeting room. 

EXT. HOTEL ENTRANCE

The Israelis come running out, looking from side to side; they've
lost Abu. A car pulls up, they get in and drive off. 

INT. CAR

               DRIVER
     I didn't see him. 

               AGENT
          (throws up his hands in despair)
     He must have gotten out a back door. 

INT. BACK TO THE MEETING ROOM

Alhazmi has been placed on a couch, and is surrounded by the only
five men still alive. 

               ALHAZMI
          (barely able to speak)
     Give him whatever he needs. Let him finish the job. 
          (dies)

INT. THE CAMPUZANOS' HOTEL ROOM - ISRAEL - NIGHT

PIERCING SOUND OF THE PHONE RINGING

Mabel, who is alone in the room, taking a nap, wakes up and answers
the phone. 

               MABEL
          (listens)
          (shocked)
     Oh God. 

Slams the phone down and rushes out. 


INT. HADASSAH HOSPITAL - NIGHT

Mabel comes running in. The CAMERA DOLLIES WITH HER as she
frantically makes her way through the corridors and into Diana's
ICU room. There she finds overjoyed Ramiro and Isaac. 

CARLEBACH MUSIC IS STILL COMING FROM THE CD ON DIANA'S BED

Mabel rushes over to Diana, whose eyes are still covered with
gauze, and grabs her hand. 

CLOSE SHOT of Diana squeezing her mother's hand. With tears of joy,
Mabel grabs Diana's other hand; CLOSE SHOT of Diana squeezing this
hand too. 

With exhilaration, Ramiro puts one arm around Mabel and clasps his
other hand over Diana's and Mabel's grip. 

A SHOT of Isaac, who has relief written all over his face. 

               DIANA
          (barely manages to get the words out)
     I'm sorry. 

               MABEL
     For what? Honey, there's nothing to be sorry about. We're here
     for you. 

DR. SHMUEL BERGER'S OFFICE (IN THE HOSPITAL)

DR. BERGER, RAMIRO AND MABEL

               MABEL
     Doctor, we don't know how to thank you. 

               BERGER
          (with a comedic touch)
     Thank your husband and Isaac. Their "treatment," we were never
     taught in medical school. 
          (smiles)
     You can thank me in a week or two. Wheel her out very slowly.
     I want everyone to get a good look at a what a miracle looks
     like. 

               RAMIRO
     Doctor, I must apologize ... 

               BERGER
     ... no, please, Mr. Campuzano, there's no need. If you didn't
     react the way you did, I'd think you didn't care. 


INT. HADASSAH HOSPITAL CORRIDOR - ABOUT A WEEK LATER - DAY

MOVING SHOT of Diana, her eyes still bandaged, being pushed in a
wheelchair, holding her father with one hand and her mother with
the other hand. 

Behind them are Sherri and Gregg, both still bandaged to some
degree, but able to walk on their own. 

Trailing along are a dozen staff members, headed by Dr. Berger, all
with bright smiles. 

As they get to the front lobby, Isaac waits for them with a camera.
Waiting with Isaac, are Debbie and her gang (the girls Diana met in
the hotel), holding flowers. 

They all get behind Diana to pose for pictures. 

EXT. 

Ezra, two military vehicles, and an ambulette, wait outside. 

Diana and the entire gang come out. 

Several news reporters snap away as Debbie hands Diana a bouquet of
flowers and clutches her hand.  

               DEBBIE
     A speedy recovery. 

               DIANA
     Thank you. 

Diana is put into the ambulette. 

After saying goodby to the hospital staff, Ramiro, Mabel and Isaac
get into the ambulette with Diana. 

With one military vehicle in the front and one in the back, they
head for the airport. 

EXT. SHOT OF THE AMBULETTE MOVING THROUGH CITY STREETS - DAY

INT. BEN GURION AIRPORT - DEPARTING GATE

Ezra and his comrades look on as Ramiro, Mabel and Isaac wheel
Diana through the gate. 

EXT. SHOT OF A PLANE TAKING OFF

INT. PLANE

Several SHOTS of Diana being tended to by her parents and Isaac.
With her eyes still covered with tape, they feed her, prop her up
with a pillow, put on her earphones, etc. 

EXT. SHOT OF THE PLANE LANDING AT JFK, NEW YORK CITY - DAY

EXT. A SHOT of the four of them boarding a smaller plane, for a
shuttle flight to Rochester, New York. 

EXT. SHOT OF THE PLANE LANDING AT ROCHESTER INT. AIRPORT - DAY

INT. DIANA'S ROOM - THE CAMPUZANOS HOME - NIGHT

Diana has just fallen asleep. Isaac leaves the room. 

KITCHEN
Mabel and Ramiro are busy putting dishes away. 

               ISAAC
          (walks in)
     She's asleep. Look, I really have to get back. 

               MABEL
     Isaac, we really want to thank you for everything. 

               ISAAC
     For what? It was her willpower. 

               RAMIRO
     Without you there, the willpower wouldn't have been the same. 

               ISAAC
          (heads for the door)
     See you guys on the weekend. 
          (leaves)

Quick SHOT of Isaac on a flight back to New York City. 

INT. MABEL'S AND RAMIRO'S BEDROOM - NIGHT
Lying in bed, Ramiro watches TV, Mabel reads a magazine.

               MABEL
     It's going to be a long two weeks. 

               RAMIRO
     Look, she's come this far ... WE'VE come this far ... I think
     we're finally starting to see the light at the end of the
     tunnel. 

               MABEL
     What if her eyesight doesn't come back? 

               RAMIRO
          (a bit irritated)
     Mabel, don't! The last thing we need now is doubts. 
          (lowers voice)
     She won't be speaking for another couple of days, but she can
     hear perfectly well. 

               MABEL
     She's asleep. 

               RAMIRO
     I just don't want to get into what ifs ... when the bandages
     come off, we'll see. Let's just thank God she's alive. If He
     brought her this far, He can restore her eyesight. 

INT. CLASSROOM - JEWISH THEOLOGICAL SEMINARY - NEW YORK - DAY

Isaac teaches his class. 

               ISAAC
     People have the ability to choose which impulse to follow:
     their good or their evil impulse. That is the heart of free
     will. One cannot blame his own wickedness on others. And, in
     the end, we're all held responsible for the choices we make.
          (student raises hand)
     Yes.

               STUDENT
     Well, what if it IS someone else's fault that you do bad
     things?

               ISAAC
     You can't kill someone because they double parked in front of
     you. Is it the other person's fault that you got angry? Yes.
     Is it the other person who provoked you by double parking in
     front of you? Yes. Are you allowed to kill him? No. 
     Furthermore, leading a LIFE of wickedness, can never, ever be
     anyone else's fault but your own. 

EXT. ABU'S NEW BOOT CAMP - SOMEWHERE IN THE MIDDLE EAST - DAY

ABOUT TWO DOZEN YOUNG MEN, MOSTLY NEW RECRUITS, SOME AS YOUNG AS
SEVENTEEN, practice shooting hand-held and shoulder-held, large-
caliber weapons at a tall structure haphazardly constructed for
target practice. 

Abu walks around, monitoring their progress. 

               ABU
          (to one recruit)
     Higher, higher. 
          (walks on)
          (to another recruit)
     Use a heavier weapon. 

The recruit drops his weapon and picks up a bigger caliber one. 

From Abu's POV, CLOSE SHOT of one very young-looking man with
anxiety etched in his face. Abu walks over. 

               ABU
     What is the problem? 

               MAN
     Abu, I don't know if I can do this. 
          (almost in tears)
     I don't know if this is for me. 

               ABU
     What did you think we were going to do here, pick apples? 

               MAN
     Abu, please, I was not sure. 

               ABU
          (feigns a smile)
     ... Kahlid, it's okay. Don't worry, it's okay. 
          (Kahlid seems relieved)
     I understand. Your mother is probably waiting for you. You
     still want to see your mother, yes? 

               KAHLID
          (smiles)
     Yes, she can't live without me. 

               ABU
          (takes out his pistol)
     If I gave you this pistol and told you to kill your own
     mother, would you do it? 

               KAHLID
     My mother? Abu, how can I kill my own mother? 

               ABU
     How? 
          (shoots him once in the head)
     This is how. 
          (the man falls dead)

The shooting stops and everyone turns to Abu. 

               ABU
          (kicks the man's body aside)
     When I see your mother I will tell her you were very loyal to
     her. 
          (looks back up at his men)
     Anyone else who wants to see his mother? 
          (shouts)
     What are you all looking at? Keep shooting. 

The shooting resumes. 

EXT. BACKYARD AT THE CAMPUZANO HOME - A WEEK LATER - DAY

Diana and Isaac are in the backyard, surrounded by lightweight
exercise equipment. Diana can speak, but still has bandages over
her eyes. 

Several SHOTS of Isaac helping her do various exercises. 

INT. SHOT OF DIANA AND ISAAC FROM MABEL'S POV IN RAMIRO'S STUDY

CAMERA PULLS BACK revealing Mabel looking out at the two, while
Ramiro is engrossed in paper work and his computer. 

               MABEL
     She does better with him than with the therapist. 
          (smiles)
     I don't know what she'd do without him. 

From Mabel's POV, Diana rests her arm on Isaac for support in one
of the exercises. 

               RAMIRO
          (not looking up from his papers)
          (good-naturedly)
     About the same thing you'd do without me. 

Mabel smiles. 

INT. CLASSROOM - JEWISH THEOLOGICAL SEMINARY - NEW YORK - DAY

Isaac teaches his class, when Mabel appears outside the door's
glass pane. 

CUT TO ISAAC AND MABEL walking down the hallway after class. 

               MABEL
     She insisted. 

EXT. 

Diana, her eyes still bandaged, is helped out of Mabel's car by
Isaac. 

EXT. ISAAC'S CAR DRIVING DOWN CITY STREETS - DAY

INT. ISAAC AND DIANA

               ISAAC
          (supportively)
     Diana, we don't have to do this now, you know. 

               DIANA
     No, I'd really like to. 
          (takes a whiff of the air coming in through a crack in
          her window)
          (moves her head as if seeing through her bandages)
     Did we just pass a pancake house? 

Isaac turns to her side for a second and sees a private sanitation
truck. 

               ISAAC
     Not exactly. 

EXT. CARLEBACH SYNAGOGUE, UPPER WEST SIDE - DAY

As Isaac and Diana get out of his parked car, we see a CLOSE SHOT
of the synagogue plaque: CARLEBACH SHUL. 

INT. MAIN SANCTUARY, CARLEBACH SHUL

Diana, Isaac and RABBI BARUCH MELTZER, a man around 35, sit around
a table. 

          RABBI MELTZER
          (to Diana)
     I admire your courage. It's phenomenal. 

               DIANA
     Rabbi, I'm as determined as ever. 

          RABBI MELTZER
     Well, I can consummate the conversion, but we need to wait at
     least till the bandages come off. The MIKVAH, the ritual bath,
     needs to cover every part of the body. 


INT. CAMPUZANO HOME, ROCHESTER, NY - DAY

Diana is helping her mother make a dress. As Diana holds down the
material on the table, Mabel cuts out a mold. 

               MABEL
     He said next week, at the latest. 

               DIANA
     I hope he's not just replacing them again. 

               MABEL
     Honey, Dr. Beanstock can't tell before he actually takes off
     the bandages. He said the eyes may need additional medication.
     If they don't, the bandages are off for good. 

INT. DR. BEANSTOCK'S OFFICE - DAY

With Diana's parents looking on, DR. BEANSTOCK takes off the
bandages from Diana's eyes. With some obvious effort, Diana manages
to open her eyes. 

               DIANA
     I can't see a thing. 
          (she blinks a few times, then turns from side to side)
     Nothing. I can't see a thing. 

Mabel looks uneasy. 

               RAMIRO
          (puts on arm around Mabel)
     Mabel, the treatments aren't completed. 

INT. JACK LA LANNE GYM

Isaac helps Diana with various exercises. 

Except for the fact that Isaac has to guide her along in finding
the handle bars for the various equipment, Diana seems to be doing
quite well. 

               ISAAC
     You're getting pretty good at this, considering ... 

               DIANA
     Considering what? 

               ISAAC
          (laughs)
     Considering you couldn't do this before. 

               DIANA
          (laughing)
     Where are you? I'd really like to hit you. 

               ISAAC
          (guides her hand to his shoulder)
     Right here. 

She punches him. 

               ISAAC
     Ooh, that hurt. Where'd you learn to punch like that? 

               DIANA
     You're not exactly the first one I've punched, you know.

               ISAAC
     I see. 

INT. RESTAURANT - NIGHT

DIANA AND ISAAC

Diana, wearing large sunglasses to cover her bandages, and Isaac
are served dinner. 

               DIANA
     Isaac, you've been great. 

               ISAAC
     It's been my pleasure. 

               DIANA
     I don't know what I'd have done without you. 

               ISAAC
     Diana, your a strong-willed person. You'd have done fine no
     matter what. 

The waiter places a bottle of wine on the table. 


INT. DR. BEANSTOCK'S OFFICE - DAY

With Diana's parents looking on again, DR. BEANSTOCK takes off the
second set of bandages from Diana's eyes. She opens her eyes. 


INT. A SUPPORT GROUP - SOMEWHERE IN ROCHESTER, NY - NIGHT

We do not yet know what kind of support group this is. It's in a
simple room with a counselor and about fifteen participants of all
ages sitting in a circle. Diana is among them. 

One participant named KYLE is in middle of speaking. 

               KYLE
     ... I've since developed a pretty good sense of where
     everything is in the house. 

               COUNSELOR
     Kyle, tell us how long it took you. 

               KYLE
     It took me only two weeks from the day I was completely
     blinded. 

Everyone applauds. 

               COUNSELOR
     Okay, Diana. 

               DIANA
          (a little hesitant at first)
     Well ... I've recently had total loss of vision. My blindness
     was not an accident. 


INT. DINNING ROOM - CAMPUZANO HOME - NIGHT

Diana, Jorge, Mabel and Ramiro sit around the dinner table, all
with a plate of soup in front of them. 

An eery silence permeates the atmosphere, as Diana holds a spoon in
one hand and taps around the table for the salt with her other
hand. 

Jorge hands it to her. 

               DIANA
          (angrily)
     Jorge, don't hand it to me. 

               JORGE
     Sorry. 


               DIANA
          (throws down the spoon in disgust)
     How am I ever going to get this? 

               RAMIRO
          (grasps Diana's hand)
     Listen, Diana, Dr. Beanstock says there's nothing physically
     wrong with your eyes ... 

               DIANA
     ... then how come I can't see? 

               RAMIRO
     Honey, he says the medicine could be taking its time. He says
     it may be nothing more than the eyes needing some activity,
     like any other part of the body. It could even be the shock.
     It just needs a little time. 

               DIANA
     Well, what do you expect him to say? After all those
     treatments ... and ... and ... money. 
          (angrily)
     What do you expect him to say? 

With a look of defeat, and tears in her eyes, Diana grabs a cane,
lying next to her chair, and clumsily makes her way to her room. 

Mabel puts her hands over her face in despair. 

               RAMIRO
     Mabel, she'll be okay. 

               MABEL
          (obviously distressed)
     Ramiro, how will she be okay? Does she look okay? 


INT. CARLEBACH SYNAGOGUE - UPPER WEST SIDE, NEW YORK - NIGHT

The only people present are DIANA, ISAAC, KAREN (DIANA'S EX-
ROOMMATE), TOD AND RABBI MELTZER

They watch Diana make her way in the front door as she holds on to
Isaac with one hand and scans the floor with her cane in the other
hand. 

               DIANA
     Isaac, I'm scared. 


               ISAAC
     Diana, you're doing fine. I'll be holding on to you. 

               DIANA
     I don't know if I can do this. 

               ISAAC
     You can do it, Diana. 

He pulls her gently. She follows. They start making their way down
the aisle. 

               RABBI MELTZER
     Excellent, excellent. 
          (a few more step)
     Just one thing. As Rabbi of this synagogue, who's been here on
     many a holiday, I can tell you it'll be quite crowded. 

               KAREN
     Well they have to walk in. 

               RABBI MELTZER
     Yes, but if she narrows the swing just a little, she should
     make it in a lot easier. 

               DIANA
     Okay. 

Diana and Isaac make their way back out the door, re-enter, then
stroll down the aisle with a narrower swing of the cane. 

               RABBI MELTZER
     Perfect. 

(The following dialogue takes place as Diana and Isaac slowly make
their way to the podium.) 

               DIANA
          (comically)
     Kar, sorry I couldn't make it to your wedding. I was a little
     tied up. 

               KAREN
          (good-naturedly)
     That's okay. Just make sure it never happens again. 

Diana smiles. 


               TOD
          (to Diana)
     We'd have left our guests at the alter to be there for you, if
     we knew what was going on. 

               DIANA
     If I knew you guys were getting married, I would've woken up
     sooner. 

               KAREN
     Whose gefilte fish do you want, O.U. or ... uh... (can't
     remember)

               TOD
     ... K. 

               KAREN
     ... that's it, K.

               DIANA
     I see you guys became mavens on the kosher market. 

               KAREN
     Well, it's not every day that two "goyim" (gentiles) host
     someone for the Jewish holidays. 

               DIANA
          (laughs)
     That's good. And how often do you have a guest who arrives as
     a "goy" and leaves as a Jew? 

               TOD
          (comically, to Karen)
     You know, she's right. We haven't had that for a while either.

The Rabbi smiles. 

Just before reaching the podium, Isaac releases Diana's hand. Diana
looks disturbed. 

               ISAAC
     It's okay, you're doing fine. This is the part you do on your
     own. 

Diana stumbles the last few steps, but makes it up to the podium. 

With exhilaration and a bright smile, Diana caresses the felt-
covered top. 


               RABBI MELTZER
          (looking at Diana with pride)
     That's a privilege many of us don't have -- remembering the
     excitement of our first Rosh Hashono. 

INT. DIANA'S ROOM - THE CAMPUZANO HOME - NIGHT

Diana sits at her desk, listening to a tape on reading braille as
she tries to follow the instructions on a book written in braille. 

PARENTS BEDROOM 
Ramiro and Mabel are getting ready for bed. 

               MABEL
     Well, she's certainly more upbeat lately. 

               RAMIRO
     She just needed a little time. I've been saying that all
     along. 

               MABEL
          (in jest)
     Are you trying to tell me you were right? 

               RAMIRO
          (good-naturedly)
     No, I'm not trying to tell you I was right. I did tell you I
     was right. 

INT. ISAAC'S APARTMENT - BEDROOM - NIGHT

The CAMERA PANS from the digital watch on his night table, which
reads 3:04 AM, to Isaac, who is fast asleep. 

SUDDEN PIERCING SOUND OF THE PHONE RINGING

Isaac pulls himself together after several rings and answers the
phone. 

               ISAAC
          (with expression of shock)
     Oh no. 

INT. KITCHEN - CAMPUZANO HOME - MORNING

Diana, and her parents are finishing breakfast. 

               MABEL
     Where's Jorge? 

               RAMIRO
     He came in late last night. 

               MABEL
     Oh, I hate it when he gets up at noon. 

               RAMIRO
          (to Diana)
     So, how did it go in that Carlebach place. 

               DIANA
     Great. 

               RAMIRO
     No problems? 

               DIANA
     No dad, I'm not having second thoughts. 

               RAMIRO
     I didn't say that. 

               DIANA
     Dad, I'm not having second thoughts. 

               RAMIRO
     And how about Karen and Tod? 

               DIANA
     Are they having second thoughts? 

               RAMIRO
     No, do they have room? 

               DIANA
     Sure. 
          (sips orange juice)
     What about you and mom? 

               RAMIRO
     How about us? 

               DIANA
     Are you coming? 

               MABEL
     Diana, we're not Jewish, how can we go to synagogue with you? 

               DIANA
     Neither are Karen and Tod. 

               MABEL
          (grabs Diana's empty plate)
     Are you done? 

               DIANA
     Yes. 

DIANA'S ROOM

Diana enters and makes her way to the bed, without much use of her
cane. Lying down, she reaches out for the TV remote on the night
table and goes though several stations before she hears something
she likes. 

In a relaxed mood, she reaches over and presses the "Play" button
on her answering machine, and hears a message from Isaac: "Diana,
my mother's in the hospital. I don't know how serious this is. I'm
taking the first flight out. I'll call you when I arrive." 

INT. EL-AL FLIGHT TO ISRAEL - DAY

SHOT of Isaac nervously leafing through a magazine, without
actually reading or looking at anything. 

EXT. BEN GURION AIRPORT - ISRAEL - DAY

Isaac disembarks from his plane. 

EXT. HADASSAH HOSPITAL

Isaac pulls up in a cab and rushes in. 

INT.

Isaac frantically makes his way to the ICU. He finds his mother,
Hellen, hooked up to a heart monitor and oxygen tank. His father,
Moish, stands over her bed. 

               MOISH
          (the second he sees Isaac)
          (relieved)
     Oh Isaac. 

               ISAAC
     Dad, how is she? 


               MOISH
     The doctor says it was mild. I don't know, to me she looked
     like ... I don't even want to say. He says she has to slow
     down. 
          (pause)
     She was in middle of cooking. That's all she was doing,
     cooking. 

               ISAAC
     Well, she definitely shouldn't be doing the heavy stuff
     anymore; mopping, windows. You have to get someone. 
          (pause)
     Not even cooking, for now. I'll take care of the holidays. 

Helen wakes up. 

               HELLEN
          (mumbles)
     Isaac. 

               ISAAC
          (clasps his mother's hand)
     Mom. 

               HELLEN
          (smiles)
     Isaac, you're here. 

               ISAAC
     I'm here, mom. 

INT. DIANA'S ROOM - CAMPUZANO HOME - SEVERAL DAYS LATER - DAY

Diana is on the phone with Isaac, who is now in his parents'
apartment. 

               DIANA
     So, how's she doing? 

               ISAAC
     In the couple of days since we brought her home, she's been
     doing much better. She still needs lots of rest, but she gets
     around. 
          (pause)
     How are you doing? 

               DIANA
          (with some despair)
     I don't know. 

               ISAAC
     Come one, you can't give up now. 

               DIANA
     I don't know, Isaac. I don't know if I can face this alone ...

               ISAAC
     ... you're not facing it alone. Karen and Tod'll be there. The
     Rabbi's extremely supportive. 

               DIANA
     I know, but ... 

               ISAAC
     ... Diana, don't think about it. Just do it. It'll be a
     breeze. Just move ahead. 

INT. ISAAC'S PARENT'S APARTMENT - THE NEXT DAY - DAY

Hellen makes it around the apartment with the assistance of a
walker. 

The door opens; Isaac enters with two huge grocery bags full of
food. 

               HELLEN
     Isaac, what's with all this food? They don't have food in the
     hotel? 

               ISAAC
     Ma, we're not in the hotel yet. We need food for the house. 
          (puts the groceries down)
     Ma, I told you, this is on me. 

Moish walks in from another room. 

               HELLEN
     Okay, but I don't want you to waste your money either. 

               MOISH
     Hellen, leave him alone. He knows what he's doing. 
          (comically)
     He lives in New York. You forgot? 

               HELLEN
     So? We used to live in New York. 

               MOISH
     So? We didn't know what we were doing? 


               HELLEN
     Ah, Moish, you're always mixing everything up. 

               MOISH
     Hellen, let Isaac do the shopping. The doctor said you should
     relax. 

               HELLEN
     I'm relaxed, I'm relaxed. 


EXT. CAMPUZANO HOME - SEVERAL DAYS LATER - DAY

Tod's car is parked out front; Tod is leaning against the side of
the car, Karen is sitting in the passenger's seat with the door
open. They both appear to be waiting for something. 

               KAREN
     I had a feeling this would happen. 

INT. DIANA'S ROOM - DIANA AND MABEL

Diana is lying on her bed, looking very despondent. Mabel stands
besides her. 

               MABEL
     Diana, Karen and Tod are waiting. 

               DIANA
     I told them not to pick me up. 

               MABEL
     They're not leaving without you. Now come on. 

Diana doesn't budge. The door opens; Ramiro peaks his head in.
Mabel motions for him not to come in. He pulls his head out and
closes the door. 

               MABEL
     How about if dad and I go with you? 
          (Diana doesn't respond)
     Diana, you've been looking forward to this since college, how
     can you just quit like this? 

               DIANA
     You've been against it since college. Why the sudden change? 

               MABEL
     This isn't about what I want. This is about a goal, your goal.
     Quitting was never part of you; don't make it part of you now.


INT. SUITE IN THE DAN PANORAMA HOTEL - TEL AVIV - ROSH HASHONO EVE

The is one of Israel's five star hotels, with 500 rooms.

(Keep in mind that Israel's time zone is seven hours later than New
York's.) 

Isaac and his parents are formally dressed for synagogue, just
finishing their final touches of fixing ties, grooming hair,
getting lint off jackets, etc. 

Hellen is apparently feeling much better. 

               MOISH
     Isaac, we only live a few blocks. I feel a little guilty. 

               ISAAC
     Dad, stop worrying about the expense. It's not often that I
     get to treat you and ma. Besides, ma got better just thinking
     about this little vacation. 

               MOISH
     Little? 

               HELLEN
          (admiring the drapes)
     I can't get over these drapes. You think maybe, if we don't
     take any towels ... 

               MOISH
     ... no, Hellen, we can't take the drapes home, and we don't
     need towels either. 


EXT. OPEN SEA SOMEWHERE OUTSIDE TEL AVIV

Abu's TWO SEA PLANES loaded with explosives are hovering on water
along side the YACHT full of electronic gear. Abu and several men
are on the yacht; each of the planes has a man at the controls. 

               ABU
          (shouts into a radio)
     Go. 

One of the sea planes takes off and flies low, almost touching the
water. 


INT. ROOM IN A TEL AVIV HOTEL

One of Abu's men, peering out a window with binoculars, answers his
cell phone. INTERCUT CONVERSATION WITH ABU. 

               ABU
     The first plane just took off. 

               MAN
     I see the target very clearly. 

A SHOT OF THE DAN PANORAMA HOTEL, where Isaac and his parents are
staying, from the binocular's POV. 

CAMERA ZOOMS INTO THE HOTEL, emphasizing that this is the target. 

INT. SYNAGOGUE IN DAN PANORAMA HOTEL

The synagogue is full to capacity, with about 600 people. A SHOT OF
ISAAC AND HIS PARENTS praying along with the cantor. 


INT. NEW YORK - MIKVAH (RITUAL BATH) - AFTERNOON

(A MIKVAH looks basically like an indoor swimming pool, except the
"pool" is usually a lot smaller than the average swimming pool.) 

Diana, fully dressed, enters the "pool" area with THREE RABBIS, one
of which is Rabbi Meltzer of the Carlebach Shul. 

As she scans the floor with her cane, the Rabbis lead her to a
bench with a towel on it, then to the pool, then back to the bench.

The Rabbis then step back a few feet behind a WALL. 

After getting fully undressed, Diana grabs her cane and towel, and
heads for the pool. 

(Due to the nature of this story, a nude scene would be
inappropriate. All shots of Diana in this scene should be
preferably of face and feet.) 

Leaving her cane and towel outside, Diana steps into the pool and
submerges her entire body up until her neck. As she dunks her head
under water three times, the Rabbis recite a blessing. 

Diana then emerges. 

She grabs the towel and wraps it around herself, covering most of
her body. Grabbing the cane, she prepares to walk back to the
bench. 

As she blinks several times to get the water out of her eyes, she
suddenly has a strange look on her face. She blinks another few
times. 

               DIANA
          (in shock)
     Oh God. 
          (blinks again)
     Oh God. 
          (tears well up in her eyes)

               ONE RABBI
     Diana, are you alright? 

Diana starts to cry. 

The Rabbis come out from behind the wall. 

               ANOTHER RABBI
     Diana, what is it? 

She drops her cane. 


INT. DINNING ROOM - DAN PANORAMA HOTEL - ISRAEL - NIGHT

All the guests who were previously in the synagogue, including
Isaac and his parents, are now seated around fancily decorated
tables. They all stand as the cantor recites a blessing over a cup
of wine. 

EXT. BACK TO ABU'S YACHT

               ABU
          (into cell phone)
     Now. 

EXT. SHORT MONTAGE OF BOMBS GOING OFF IN ISRAEL, AT THREE DIFFERENT
LOCATIONS

In each case, we see one of Abu's men hit a remote control and
drive off. And, in each case, there is an immediate emergency
response; police, ambulances, etc. 


INT. COCKPIT OF THE FIRST OF ABU'S PLANES

The plane is still flying very close to the ocean surface to avoid
radar detection. From the pilot's POV, we see what looks vaguely
like a coast line, but it's to far to tell. 

INT. DINNING ROOM - DAN PANORAMA HOTEL

Many of the guests are now lined up in front of sinks for the
ritual hand washing for the meal. 

EXT. SEA - AN ISRAELI COAST GUARD GUNBOAT

INT. DECK

Three soldiers are on deck. 

               SOLDIER
          (thinks he heard something)
     What's that? 

They all remain silent for a moment. They hear nothing. 

               SOLDIER
     No ... I heard something. Shut the engines. 

Another soldier shuts the engines. There is total silence. 

He's about to restart the engines, when they hear a very faint hum.
One of them picks up binoculars and scans the area. After several
scans, he spots something moving, but can't make it out clearly in
the dark. 

               SOLDIER WITH BINOCULARS
          (pointing in direction of sighting)
     Go, quickly. 

The boat takes off. 

CLOSE SHOT OF ABU'S PLANE
With all lights off, the plane moves swiftly above the waters in
total darkness. 

Suddenly, a huge spotlight from the coast guard boat shines
directly at the plane, illuminating the night sky. 

INT. COAST GUARD BOAT

               ONE SOLDIER
          (shouts into radio)
     Intrusion, 80 kilometers west of Tel Aviv! 
     Intrusion, 80 kilometers west of Tel Aviv! 

EXT. TWO ISRAELI FIGHTER JETS MAKE A U-TURN HIGH ABOVE THE SKYS

They head for the sea and descend steeply. 

INT.

CLOSE SHOT OF RADAR SCREEN on one of the fighter jets; Abu's plane
shows up as a blip. 

               ISRAELI PILOT
     IDF to Seastar Amphi plane, identify yourself. 
          (no response)
     IDF to Seastar Amphi plane, identify yourself. 
          (no response)
     If you continue on your present course we will be forced to
     shoot you down. 
          (no response)
     IDF to Seastar Amphi plane, identify yourself immediately. 
          (no response)

From the terrorist pilot's POV, we now see the well-lit Tel Aviv
skyline coming into full view. 

EXT. 

The two Israeli planes close in on Abu's plane. Abu's man sees them
coming and accelerates. 

Suddenly, the Seastar is hit with several missiles. Being laden
with explosives, it is blown to bits in a hugh fireball. 

INT. SECOND FIGHTER JET

               PILOT
     Oh God, that could've brought down any building in Tel Aviv. 

INT. DINNING ROOM - DAN PANORAMA HOTEL

The guests are now singing holiday songs. 

Several CLOSE SHOTS of Isaac and his parents singing, laughing, and
really having a great time.  

EXT. ABU'S YACHT

INTERCUT PHONE CONVERSATION with his man in the Tel Aviv hotel
room.

               MAN
     I see nothing. 

In disgust, Abu signals to his second sea plane, to take off. It
does so. 


INT. MAIN SANCTUARY, CARLEBACH SYNAGOGUE - NEW YORK - NIGHT

It is ROSH HASHONO EVE, the synagogue has an overflow crowd. 

Up front, sits Rabbi Meltzer and one of the other rabbis who were
with Diana at the ritual bath. 

As the cantor recites some prayers, the CAMERA PANS through the
congregation. We see people of all ages, also Karen and Tod, but no
Diana. 

The cantor finishes the piece; Rabbi Meltzer steps up to the
podium. 

               RABBI MELTZER
     Welcome members and non-members. It's my honor and pleasure to
     greet you once more, and help usher in a new year of blessing
     and prosperity. As our congregation has grown by leaps and
     bounds in the past year, it is my sincerest hope that we grow
     likewise spiritually in the coming year. 

SHOT OF KAREN
She keeps glancing at the entrance with a worried look. 

               KAREN
          (whispers to Tod)
     Where is she? She should've been here by now. I'm getting
     worried, now. 

               RABBI MELTZER (continued)
     As God's children, it is our duty to not only thank God for
     whatever He has blessed us with, but also to pray for the
     continued well-being of our families, our friends, and the
     land we live in. And it is only our putting our trust and
     faith in God that gives us strength and hope. 

The third Rabbi who was with Diana in the ritual bath, quietly
slips in the door and nods to Rabbi Meltzer. Rabbi Meltzer nods
back. 


               RABBI MELTZER (continued)
     Hopelessness, in particular, has never been part of our
     heritage. And the notion of not giving up hope in spite of all
     obstacles, could not be better exemplified than it has been by
     our newest member. No, not just a new member of our
     congregation, but a new member of our people. 

The Rabbi near the door sticks his head out for a moment, and Diana
enters. 

               RABBI MELTZER (continued)
     It is my pleasure to present to you a survivor in the truest
     sense of the word -- Diana Campuzano. 

The entire congregation gets up and turns toward the back. As
Diana, wearing a stunning dress, walks down the aisle with the
grace of a bride making her way to the altar, the congregation
applauds. 

CLOSE SHOT of Karen and Tod. 

               KAREN
          (whispers to Tod)
     Where's her cane? 
Diana makes eye contact with Karen and manages to give a smile. 
     Oh my God, she can see. She can see. 
          (she sheds tears of joy)
     Oh God ... she can see. 

Diana, fighting back her own tears of exhilaration, reaches the
front of the synagogue and steps up to the podium. 

The congregation sits. 

               DIANA
     A happy and prosperous Rosh Hashono. My name is Diana
     Campuzano. I'd like to thank the Rabbi for his generous
     introduction. Let me begin by adding to that introduction. The
     obstacles placed before me, were not obstacles at all. They
     were mere setbacks. The obstacles most difficult to overcome,
     were the ones I placed before myself. 


EXT. DECK OF ISRAELI COAST GUARD GUNBOAT - MIDDLE EAST - NIGHT

The soldiers go through the same procedure as before: one of them
thinks he hears something, they shut the engines, one of them looks
around with binoculars. 

But this time, they hear a sound getting louder and louder. They
look up and are shocked to see Abu's second sea plane directly
above them. 

SEA PLANE
The pilot drops a couple of hand-grenades. 

The Israeli gunboat blows up. 

The plane continues on its way to Tel Aviv, flying only inches
above the water. 

INT. DINNING ROOM - DAN PANORAMA HOTEL

In an extremely festive atmosphere, the guests are now singing and
dancing. It looks sort of like a wedding without the bride and
groom. 

INT. CARLEBACH SYNAGOGUE - NEW YORK

With Diana still speaking, we HEAR VERY LOW BACKGROUND MUSIC of
Shlomo Carlebach. 

(From this point on, whenever we cut back to Diana speaking, the
BACKGROUND MUSIC GETS SLIGHTLY LOUDER AS SHE SPEAKS.) 

               DIANA
     ... what's a bit disturbing is that people sometimes tend to
     forget the LIVING victims. The dead should certainly be
     remembered and memorialized. But the living victim's plight
     BEGINS with the blast of a terrorist's bomb. The living
     victim's pain and struggle goes on long after the bomb's echo
     has subsided ... 

EXT. ABU'S SECOND SEA PLANE HEADED FOR TEL AVIV

It's still traveling very close to the water, successfully eluding
radar. 

From this point on, to highlight the impending doom, SHOTS of the
sea plane should be INTERCUT WITH QUICK SHOTS OF THE SINGING AND
DANCING IN THE DINNING ROOM OF THE DAN PANORAMA HOTEL.
Particularly, SHOTS OF Isaac and his parents.

INT. TEL AVIV SKYLINE FROM TERRORIST PILOT'S POV

The skyline is quickly coming closer. The pilot swerves upward
several times then comes back down, close to the water. 


INT. RADAR SCREEN IN AN ISRAELI CONTROL TOWER

A small blip, the terrorist's plane, comes into view then
disappears several times. The operator looks puzzled. 

               OPERATOR
          (shouts to another operator)
     Yona, you see this? 

BLIP disappears. 

               YONA
     See what? 
He scan the screen with a puzzled look. In a couple of seconds, the
blip comes back and stays. 
          (shouts)
     I see it! 

               FIRST OPERATOR
          (picks up a radio)
     Unidentified plane 10 kilometers west of Tel Aviv! 
     Unidentified plane 10 kilometers west of Tel Aviv! 

EXT. THE SEA PLANE 

The plane approaches the shores of Tel Aviv and soars high up into
the sky. 

TWO ISRAELI FIGHTER JETS RACE TO THE SCENE
As soon as the terrorist plane comes into view, one of the fighter
jets fires a heat-seeking missile. 

ONE OF ABU'S MEN ON THE GROUND
Using a shoulder launcher, he fires a missile in the vicinity of
the terrorist plane. 

The missile from the Israeli fighter jet changes course and follows
the missile fired by the ground terrorist. In a few seconds, the
two missiles collide and obliterate each other in a blast. 

The terrorist plane moves closer to its target -- THE DAN PANORAMA
HOTEL. Another INTERIOR SHOT of the guests singing and dancing. 

INT. CARLEBACH SYNAGOGUE - NEW YORK - NIGHT

With the BACKGROUND MUSIC GETTING LOUDER, and Diana still speaking,
the CAMERA PANS through the congregation -- there are many wet
eyes. 


               DIANA
     ... all men may be created equal, but not all men die equal.
     Some die as Saints, some as monsters. And when we fail to
     recognize this contrast, we are being cruel to all of mankind
     ... 

BACK TO THE TERRORIST PLANE BEING CHASED BY THE ISRAELI FIGHTERS

We have a SCENE CLOSELY RESEMBLING the last scene in which the
Israeli fighter jet fires a missile, another one of Abu's men on
the ground shoots a missile from a shoulder launcher, the Israeli
missile is taken off course, only to explode harmlessly in a
collision with the terrorist's missiles. 

INT. PANORAMA HOTEL - DINNING ROOM 

Another SHOT of the singing and dancing. 

EXT. A HIGH ANGLE SHOT OF THE TERRORIST PLANE

The plane is now close enough to the DAN PANORAMA HOTEL that the
CAMERA CAN PAN FROM IT TO THE HOTEL. 

INT. CARLEBACH SYNAGOGUE - DIANA SPEAKING

               DIANA
          (with tears in her eyes)
     ... I can't tell you how many times I stayed awake at night
     wondering who the lucky ones were ... those who died ... or
     those who survived ... 

CAMERA PANS through the congregation -- there is not a dry eye in
the house. 

               DIANA (continued)
     ... tonight, I can honestly say, for the first time, I know
     the answer. Where there's life, there's hope ... 

The following conclusion of Diana's speech should be dubbed in as
a voice over to the final climactic scenes in Israel. 

               DIANA (continued) (V.O.)
     ... I no longer question why things happened. That's God's
     domain. I question for what higher purpose we survive. A past
     that doesn't enrich the future, is an experience wasted. To
     me, this is not just the beginning of a new year; it's the
     beginning of a new life. May God protect us this year and
     every year from our enemies. May His light shine upon us in
     the darkest moments. Evil does not come from God; it comes
     from man. It is man who plots evil, it is man who carries out
     evil, it is man who has to be held accountable. And it is also
     man who has to root out evil from its midst by executing
     justice. As our literature states: If you are kind to the
     wicked, someday you'll be wicked to the kind. We've made that
     mistake for too long, now. It's time we stopped being kind to
     the wicked. The righteous cannot survive, unless the wicked
     perish. May God's justice be equitable, but swift. And may He
     grant us all a "Shana Tovah" (Happy New Year). 

EXT. THE AIR FIGHT OVER THE DAN PANORAMA HOTEL

The terrorist plane looks like it's about to fly head-on into the
hotel. 

One of the fighter jets flies forward to cut it off at the tip of
the building. Seeing the Israeli jet coming straight at him, the
terrorist pilot maneuvers his plane into a vertical ascent directly
above the hotel, then spins it down 180 degrees. 

The sea plane is now heading straight down into the hotel. 

One of the jets fires a missile. 

INT. DINING ROOM

As the guests sing and dance, we HEAR AN EXPLOSION. THEN A LOUD
CRASH. 

The walls rattle, the chandeliers swing, and all the lights go off.

We are now in total darkness. And, for a seconds, the silence is
deafening -- absolutely no sound. 

EXT.

WE SEE A HUGH FIREBALL DIRECTLY ABOVE THE HOTEL, but not touching
it: The terrorist plane has apparently been hit by the Israeli
missile, and debris is raining down on the hotel. 

INT. INTERCUT DIALOGUE BETWEEN THE PILOTS OF THE TWO JETS

               PILOT ONE
     Nice shot. 

               PILOT TWO
     Thanks. We're going to have a little rain now. 

               PILOT ONE
     That's a lot better than a little disaster. 


INT. HOTEL DINNING ROOM

We hear some banging and clinging as the debris hits the hotel.

               DIANA (V.O. from the above dialogue)
     ... May His light shine upon us in the darkest moments ...

The lights come back on. 

Plaster hangs from the ceiling, lights hang lopsidedly, some lights
have fallen down, and guests are covered in soot. But there seem to
be no serious injuries. 

The guests all stand in their places for several seconds, just
bewildered. 

Slowly, they start moving around, looking to see if others are
hurt. It soon becomes clear that no one was seriously injured. The
smiles come back to their faces. 

A SHOT OF ISAAC AND HIS PARENTS hugging and kissing each other. 

EXT. WEST BANK - ISRAEL - A COUPLE OF DAYS LATER - DAY

Two cars full of guys are parked next to a phone booth. Abu is in
the phone booth engaged in conversation. He hangs up and emerges
with a bright smile. 

               ABU
     We have more funding. 
          (exuberantly, he hops into the first car)
     Let's go, we have work to do. 

Both cars drive off. 

A LONG STRETCH OF RELATIVELY DESERTED ROAD - A FEW MINUTES LATER

As Abu's two cars drive down the road, suddenly, the second car
explodes into smithereens. The CAMERA PANS up; we see two Israeli
attack helicopters. 

Abu's car picks up speed. 

               DIANA (V.O. from above dialogue)
     ... May God's justice be equitable, but swift ... 

The helicopters fire another round of missiles. Abu and his
comrades are blown into oblivion. 


               DIANA (V.O. from above dialogue)
     ... And may He grant us all a "Shana Tovah." 


SCREEN

In the summer of 2002, FOX TV interviewed Diana and ran a story on
her.

On January 6th, 2003, Diana went to Washington D.C. to testify
before the Federal Government in a suit brought on behalf of her
and others against Iran for backing the terrorist group Hezbala.

The suit was won in September of 2003. The State Department
subsequently refused to divulge the whereabouts of the defendants'
assets, making collecting difficult.

The victims are now rallying around a new law that would require
the State Department to disclose such information.

                               END


Registered with Writer's Guild of America 
Copyright Josh Greenberger