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ALL SCRIPTS


           by

Ed Solomon and John August


  current revisions by

        Zak Penn




                             EARLY DRAFT

                             August 11, 1999

CHARLIE'S ANGELS - 8/18/99


FADE IN:


EXT. THE BIG BLUE SKY - DAY

A VIRGIN AIR 747 bursts through the clouds and levels off.

INT. VIRGIN AIR 747 - DAY

We move through the FIRST CLASS CABIN. It's the regular
mix of first class people: OLD MONEY in Gucci enjoying
freshly baked cookies, a MILLIONAIRE in jeans and a T-
shirt, BUSINESS PEOPLE relaxing after a tough day, and...

...a very nervous MAN.

Shifty-eyed. Alone in an aisle seat, the emergency row.
We hold on him for a moment, but not for too long. Then
we continue moving into --

THE COACH SECTION

Stopping at the lavatory, the "OCCUPIED" sign switches to
"VACANT" and...

JAMES EARL JONES

(or actually, a James Earl Jones type, who for ease of
description, we'll simply refer to as James Earl Jones)
steps out of the restroom, in full African regalia:
multi-colored dashiki, mufti (it's a kind of hat), the
works. He heads up the aisle towards --

THE FIRST CLASS CABIN

Where he is stopped by a --

                         FLIGHT ATTENDANT
           I'm sorry, sir. This cabin is
           restricted to first cl...

Mr. Jones now removes a FIRST CLASS TICKET.

                         JAMES EARL JONES
           Is this what you're looking for?

She looks at it -- a little confused as to why he's just
handing it to her now -- but then she nods. As he passes:

                         FLIGHT ATTENDANT
           Oh, I'm sorry. Please. Is there
           anything I can get you?

                         JAMES EARL JONES
           Scotch, blended. Straight.

He continues into the first class cabin and toward --

CHARLIE'S ANGELS - 8/18/99                              2.

THE FIRST CLASS EMERGENCY ROOM

Where he slides in past the nervous, shifty-eyed man (his
name is PASQUAL) and sits by the window.

After a moment, Pasqual quietly clears his throat and
leans, slightly, towards Jones.

                        PASQUAL
                 (tentatively)
          They say birds can't fly this high.

                        JAMES EARL JONES
          They say only angels can.

Now Pasqual nods. Nervously begins to remove something
from his pocket when they are interrupted by --

                        FLIGHT ATTENDANT
          Shall I pour your scotch?

                        JAMES EARL JONES
          No -- I'll take the bottle. Thank you.

She hands him the airplane-sized bottle -- he waves off
the glass. She shrugs, leaving...

Pasqual to resume what he was doing. Slowly, he removes
a roll of Certs. He looks to Jones -- "Well? What about
your end of the bargain?"

From within his dashiki, Jones pulls out a black velvet
pouch. He hands it to Pasqual, who opens it to find
diamonds. A helluva lot of diamonds. Pasqual smiles.

He hands the roll of Certs to Jones. It's not breath
candy at all, but a tiny roll of explosives, with a tiny,
high-tech triggering mechanism.

                        JAMES EARL JONES
          Ah, c-5. The most dangerous
          explosive material ever invented.
          Hard to believe that this little
          contraption could blow up ten city
          blocks.

                        PASQUAL
          Be careful with it, huh?

Both men smile.   Pasqual's very relieved that the deal is
done.

Then suddenly, the lights blink out.

Pasqual looks around, nervous. But it's just the in-
flight movie beginning. Clouds, and a woman holding a
torch.
                                             (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                              3.

CONTINUED:

Columbia Pictures presents... David Spade and Adam
Sandler in "BOSOM BUDDIES: THE MOVIE."

James Earl Jones shakes his head, rolls his eyes.

                           JAMES EARL JONES
             Another movie from an old TV show?

                           PASQUAL
             Well, what're you gonna do?

                               JAMES EARL JONES
             Walk out.

                           PASQUAL
             That's very funny.

But James Earl Jones is dead serious.

                               JAMES EARL JONES
             No.   It isn't.

Jones grabs Pascal in a headlock and turns toward the
back of the plane, shouting:

                            JAMES EARL JONES (CONT'D)
             EVERYONE!   FASTEN YOUR SEAT BELTS!

Now Jones does the unthinkable. Holding Pasqual tight,
he yanks open the emergency door release.

With a RUSH, the cabin decompresses.

Panic erupts as air, paper and everything not belted in
screams out of the open door, including --

EXT. THE BIG BLUE SKY - FALLING AWAY FROM THE 747 - DAY

-- James Earl Jones, still holding Pasqual in a bear hug.
They plummet, wind violently tearing at them. Pasqual's
frantic SCREAMS doppler quite nicely.

DROPPING WITH THEM

They continue to fall, gaining speed. Pasqual is
terrified, but Jones doesn't seem worried. In fact,
casually, he glances at his watch, and then looks --

FAR BELOW THEM - ACROSS THE SKY

At the tiny black speck gradually grows larger in the
distance...

CHARLIE'S ANGELS - 8/18/99                               4.

CLOSER - ON THAT BLACK SPECK

It's a jet helicopter. Its door opens, and now a SKYDIVER leaps
out, helmet down, arms back, streaking across the
sky in aerodynamic perfection, heading directly towards

JONES AND PASQUAL

who are still plummeting toward the earth at terminal
velocity. Jones begins to let go of Pasqual, who SCREAMS
and tries to clutch onto him, desperate.

                        JAMES EARL JONES
                 (over the rushing wind)
          PULL YOURSELF TOGETHER. WE HAVE
          COMPANY.
                        PASQUAL
          WHAT?

Suddenly -- WHOMMPPPH!! -- the skydiver spread-eagles,
stopping the wild dive directly behind Pasqual, and
immediately binds his arms and straps a parachute on him.

All three are still free-falling.

James Earl Jones nods at the Skydiver who, even under the
helmet and goggles, is clearly a beautiful woman.

Meet ALEXANDRA "ALEX" MUNDAY, one of Charlie's Angels.
She's a sultry bombshell -- a classic femme fatale --
only she's playing for the good guys.

She gives James Earl Jones a wink, then jerks Pasqual's
rip cord and -- WHOOMPH. Pasqual's chute deploys. He
flies upward, leaving --

Alex and James Earl Jones, both still falling.    Below the
ocean screams up at them. Not much time left.

James Earl Jones pulls his belt -- and his mufti flies
up. It's actually a tiny drogue chute, deploying his
entire dashiki. His outfit hides a parachute rig.

Alex pulls her own rip cord and -- WHOOMPH -- her chute
unfurls, and now...

Alex and James Earl Jones gently float towards --

EXT. THE BIG BLUE SEA - DAY

A cigarette boat floats through the choppy water, a
gorgeous young woman expertly throttling up the growling
V-8.

Say hello to NATALIE THOMPSON, Charlie's second angel.
At a glance, she's the brainy-shy girl next door.

                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 5.

CONTINUED:

But put her behind the wheel of any vehicle, and she's
unstoppable.

Natalie glances ahead, maneuvering the boat perfectly under
Alex, who drops on deck. Alex gathers her chute, then whips off
her helmet to give her cascading mane a wild shake.

Here comes James Earl Jones. Natalie guns the boat
underneath...a perfect catch. Alex helps him with his
dashiki-chute, and then all three look up...

Here comes Pasqual. Natalie whips the boat around,
catching him as he helplessly drops into the seats, still
bound, still scared out of his wits. He gapes wild-eyed
at the two Angels, then whirls on James Earl Jones.

                           PASQUAL
             You crazy bastard!

                           JAMES EARL JONES
             I think you mean crazy bitch.

With that, James Earl Jones reaches up and pulls his face
off. Latex rips free, and standing there (without his
dashiki, James Earl Jones has a great figure) is...

... stunningly beautiful DYLAN SANDERS, angel number
three. She's the wild one.

Pasqual's jaw drops as Dylan shakes her hair free, then
reaches in her mouth --

                           DYLAN
                    (still with James Earl Jones' voice)
             Don't need this anymore.

-- and extracts a voice-modifying chip.

                           DYLAN (CONT'D)
                    (now in her real voice)
             But I sure could use this.

And she pulls from her pocket the airplane-size bottle of
Johnnie Walker Black. She twists it open and downs it.

                           DYLAN (CONT'D)
             Damn I hate to fly.

EXT. BEACH DOCK - DAY

Now, MEN IN "FBI" WINDBREAKERS haul Pasqual away, two of
them carefully handling the certs-explosive. A harmless
fellow pushes his way past them and onto the dock.

It's JOHN BOSLEY, Charlie's lieutenant.
                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 6.

CONTINUED:

He reaches the boat, which Natalie ties off while Alex
and Dylan neatly fold their parachutes.

                           BOSLEY
             Well, Angels, the experimental
             explosives are back in the hands of
             the government, and the free world
             can breathe just a lit-tle bit
             easier tonight, thanks to you three.

Alex, Natalie and Dylan stroll from the dock onto the sand,
each starting to unzip/unbutton/unsnap their action gear and
hand it to Bosley as they continue walking.

                           NATALIE
             And thanks to you, too, Bos.

                           ALEX
             We couldn't have redirected the
             flight path without your help.

Bosley puffs, proud. He speaks over the ever-growing
pile of chutes, body suits, goggles, the dashiki...

                           BOSLEY
             Nothing a little teamwork can't do.
             At least, that's what Charlie's
             always telling us, right ladies?

                           DYLAN
             Charlie will be joining us, won't he?

                           BOSLEY
             He sends his regrets. But he
             wanted you to know that dinner is
             on him, so feel free to celebrate.

By now, the Angels have stripped off all of their
equipment, revealing eye-popping evening gowns.

                           ALEX
             If it's on Charlie, we will.

The Angels share a laugh as they arrive in their sassy
duds at a private beach club, where a WAITER greets them
with a tray of champagne flutes.

They each take a glass, turn to each other and raise
them. Another Angels Mystery... Case Closed.

FREEZE FRAME.    And the TITLE SEQUENCE BEGINS...

                           CHARLIE (V.O.)
             Once upon a time...

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               7.

CONTINUED:

THREE FOURTH GRADE SCHOOL PHOTOS FILL THE FRAME, side by
side by side. These are three very different girls.

NATALIE, with a page-boy cut and wearing a Catholic
schoolgirl's uniform, sports glasses and braces; a bit
awkward and gangly, even shy.

ALEX, formally dressed with perfect pig-tails, is
sophisticated and self-possessed; a class act, even at ten.

DYLAN, wild blond hair and faded T-shirt, has a jaded,
street-wise smirk; even at this young age, her isolation
and disillusionment are masked by seeming confidence.

                           CHARLIE (CONT'D)
             ... there were three very
             different little girls.

The triptych remains on screen.    Now it shifts into:

VIDEO TAPE - THE THREE GIRLS (STILL IN TRIPTYCH)

Now TEENAGERS, on HOME VIDEO.

NATALIE, working the A-V equipment at school, hides her
face in embarrassment, uncomfortable with the camera.
FREEZE.

ALEX, in riding gear, accepting her steeple-chase trophy.
She knows where to look for the camera. FREEZE.

DYLAN, smoking with her tough-girl friends in the girls'
room of her reform school, is caught on camera. She
flips it off. FREEZE.

                           CHARLIE (CONT'D)
             Who grew up into three very
             different women.

TRIPTYCH CONTINUES

They're all WOMEN now, in their early twenties.

NATALIE, a research fellow at MIT (and beautiful, but not
flaunting it) demonstrates a chess-playing computer
program to a room of impressed advisors.

ALEX, valedictorian at Oxford, passionately delivers her
address to a crowd of rapt students, faculty and parents.

DYLAN, in leather and a helmet, steps off a Harley. She
sees a punk with a mohawk slapping around his girlfriend.
She decks him, then enters the back door of a seedy punk bar.

                           CHARLIE (CONT'D)
             With three things in common...

CHARLIE'S ANGELS - 8/18/99                              8.

TRIPTYCH ENDS

With photographs again. The women, as they are now:
Natalie, Alex, Dylan. All gorgeous, all self-assured.

                         CHARLIE (CONT'D)
           They're brilliant. They're
           beautiful. And they work for me.

Now, FIREBALL EXPLOSIONS completely fill the screen.

                         CHARLIE (CONT'D)
           My name is Charlie.

ANGEL SILHOUETTES appear, in flames.    New MUSIC kicks in.

                        "CHARLIE'S ANGELS"

...And a new title sequence takes over:

VARIOUS SHOTS:   MONTAGE (OVER MUSIC)

Credits continue as we watch the Angels in action (from,
presumably, previous adventures...)

-- A microscope-peering Natalie cuts a ruby, drops it in
a laser housing, shoots a red beam.

--   Dylan, wielding kendo sticks, spars with two Yakzuza.

-- Alex side-kicks two baddies, spins, drops a third.
ZOOM BACK: she is at the Parthenon.

-- A motocross race. Natalie digs in for the finish,
attacking the last jump with gusto.

-- Dylan, in traditional Islamic robes, finds a secret
switch. She pushes back a bookcase to reveal secret stairs.

-- At a ballroom dance competition, Alex wows the crowd
while keeping her eye on a nefarious couple.

-- Bosley, as "Luka, the Bad Ass Pimp," bitch-slaps a
couple of "ho's" -- actually Dylan and Alex -- then winks
at them as unsuspecting drug dealers back off, scared.

--   Natalie bites into a messy hot-dog, has to just laugh.

-- The three angels elbow their way through a roller-
derby match.

-- In orange prison jumpsuits, Alex and Dylan work in
female chain-gang.

-- Window-washer Natalie peers into a skyscraper office,
surreptitiously photographing the meeting inside.

                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                              9.

CONTINUED:

-- On an Italian street, the three Angels buy a paper,
grin at the headline, "Mystery Women Save European
Union." As they high-five, Dylan's cone of gelato drops
to the sidewalk. The Angels look at it, look at each
other...and just have to laugh.

TITLE SEQUENCE ENDS.

OVER BLACK we hear a DIGITAL RING...

INT. TINY HOUSEBOAT BEDROOM - DAY

CLOSE ON Dylan as she wakes up in a tangle of ugly
sheets, disoriented and a bit hungover. She hears the
RINGING -- where is it coming from? Why is it drilling
into her head?

Checking the floor, she finds her jeans. Digs in the
pocket to find her cell phone. Answering...

                            DYLAN
             Hi.
                     (recognizing voice)
             Hi.   Okay. I'll be right in.

She clicks the phone off, then starts looking around.
Where the fuck is she?

From the next room, we hear a male VOICE singing "My
Sharona." She checks under the sheets. Oh God. She's
naked. She pulls her shirt from the floor, puts it on.
Closing her eyes, she prays...

                            DYLAN (CONT'D)
             Not him.   Not him, not him, not him.

                           THE VOICE
             'Morning starfish.

                            DYLAN
             Oh God no.

At the door, skinny shirtless CHAD holds a skillet of eggs.

                            CHAD
             Hungry?

EXT. CHAD'S CRAPPY BOAT - DAY

Blinded by the daylight, Dylan emerges from below,
relieved to see the boat is docked. Chad follows her
outside, pleading...
                         CHAD
          C'mon Dylan. You + Me. It's
          magic.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   10.

CONTINUED:

                           DYLAN
             It's a mistake. A horrible,
             horrible mistake.

She jumps onto the dock.

                           CHAD
             Then how come we keep getting back
             together? It's fate.

Dylan just keeps walking.

                           CHAD
                    (yelling after)
             Is it because I live on a boat?

                                                  WHIP TO:

CLOSEUP - MAN'S FACE

This is Jason Gibbons, handsome, action-movie stud.       He's
concentrating fiercely.

                           ALEX (O.S.)
             If you don't defuse this bomb,
             Logan, L.A.'s going to be a new
             underwater attraction.

A bead of sweat drops down Jason's face.

                           JASON
             Get off my back, Sanchez.   I know
             what I'm doing.

REVEAL ALEX, her face right next to his.

                            ALEX
             Which wire?   The red one or the blue one?

                           JASON
             Marix has a thing for red. Red
             cars, red boats, red-headed hookers.

                           ALEX
             So the red one.

                           JASON
             That's why I'm gonna say blue.

He makes a "snip" motion.     They both breathe a sigh of relief.

                           ALEX
             You saved the world again, Logan.

She leans forward, closer and closer, right in his face.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                      11.

CONTINUED:

                              JASON
             That's my job.

Alex kisses him. It's a damn good kiss.          Jason's into
it, but pulls away for a second.

                           JASON (CONT'D)
             I don't think Sanchez would kiss
             me. He's a forty-year-old man.

Pull back to reveal...

ALEX and JASON are in a fully macked out Airstream,
sitting on a bed, leaning over an open screenplay. We
can tell from our surroundings that Jason is a big deal
Hollywood action star, and this trailer is his home away
from home.

She licks the bridge of his nose, then kisses him again.

                           ALEX
             Let's have it rewritten.

As she smiLes, a cell phone RINGS. Both Alex and Jason
reach for their phones. It's hers.

                              ALEX (CONT'D)
             Hello?

EXT. JASON'S AIRSTREAM - DAY

Jason stands in the doorway in his robe as Alex tosses
her stuff in the back of a very excellent car.

                           JASON
             So when you coming back?

                            ALEX
             Not sure.   Whenever I can.      I'll
             call you.

                           JASON
             Oh, great, that's helpful.
                    (watching her prepare to go)
             I don't get it, what kind of
             executive assistant is on 24 hour call?

                           ALEX
             A very good one.

                           JASON
             You ask me, your boss is an asshole.
                    (beat)
             When do I get to meet this Charlie
             guy, anyway?
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  12.

CONTINUED:

                           ALEX
             Charlie's not very social.

                           JASON
             Yeah, well I think you should
             quit.

                           ALEX
             Charlie needs me.

                            JASON
             I need you.

Alex looks back -- that was more personally revealing
than she expected.

A P.A. comes up next to Jason.

                            P.A.
             Mr. Gibbons?   We're ready for you
             on the set.

Jason nods, then back to Alex.

                           JASON
             I gotta go save the world.

Alex smiles at the irony of that.

                            ALEX
             My hero.

She blows him a kiss and speeds off.

EXT. BEACH APARTMENT WALKWAY - DAY

Natalie KNOCKS on the door to 113.      A beat later, the
door swings open to reveal BOB.

Natalie SCREAMS in astonishment.

                            BOB
                     (freaked)
             What!   Natalie, what?

                           NATALIE
             I thought you were dead.

She pushes past him.

INT. BOB'S APARTMENT - DAY

Natalie makes a beeline for his keys on the table.
Starts taking one key off the ring.

                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                     13.

CONTINUED:
                           NATALIE
             I thought the police might be here.
             Or your neighbors. Or your parents,
             here to identify your remains.

He has no idea what she's talking about.         She goes to

THE BATHROOM,

where she retrieves a toothbrush.

                           NATALIE (CONT'D)
             I saw your car was here, so I knew
             you weren't carjacked and brutally
             beaten, left to die on the highway.

Her cell phone RINGS.

                              BOB
             I'm not...

She holds up a finger, just a sec.

                           NATALIE
                    (answering phone)
             Hello. Absolutely. I'll be right in.

She hangs up.
                              BOB
             I'm not dead.

                           NATALIE
             But you can understand why I
             thought so. You missed our date
             last night. You didn't call or
             anything. I was just sitting
             there by myself.

ANGLE ON Bob.    What can he say?

                           NATALIE (CONT'D)
             I can tolerate a lot, but punctuality
             and attendance, those rank very high
             in my list of dating priorities.

                              BOB
             I can explain.

Behind Natalie, a door opens.          A topless BLONDE looks out.

                              BLONDE
             Bobby?

                            BOB
                    (to Natalie)
             I can explain.
                                                      (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   14.

CONTINUED:

Behind the Blonde, ISAAC HAYES looks out.      He's also topless.

                             ISAAC HAYES
             Bobby?

                             BOB
             Damn.

Beyond weirded out, Natalie just leaves.

                                                   CUT TO:

EXT. SUNSET BOULEVARD - DAY

Passing cars reveal the one and only CHARLES TOWNSEND
DETECTIVE AGENCY. That's what the sign says.

INT. CHARLES TOWNSEND DETECTIVE AGENCY - DAY

In foreground, a blender WHIRRS. Still hungover, Dylan
cringes from the sound. Natalie pours out three fruit
smoothies for the angels.

                           NATALIE
             Just once, I want to date a normal
             man, without a wife, or a drug
             addiction, or bondage issues.

                             DYLAN
             Here here.

She and Natalie toast.       Alex is only half-in. Off their look...
                              ALEX
             What?    I've got a great relationship.

                           DYLAN
             Your boyfriend thinks you're a
             secretary.

                           ALEX
             That way, he doesn't ask about my work.

Bosley walks in with a folder.       He eyes their drinks.

                           NATALIE
             I'm sorry, Bosley. I only made
             enough for three.

                           BOSLEY
             No, that's...That's okay.

It's not okay, but that's our Bosley. He takes his seat
behind his desk. Now we see the biggest addition to the
office, the Angels Wall of Fame.
                                             (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                              15.

CONTINUED:

Pictures of every angel, from the original cast members to some
fictitious ones we've never seen before. The rest of the office
is exactly as we remember it, right down to the

SPEAKERPHONE.
                           CHARLIE'S VOICE
             Good morning, Angels.

                           ANGELS
                    (sing-songy)
             Good morning, Charlie.

The angels take a seat on couches and chairs.

                           CHARLIE'S VOICE
             I'm sorry to call you back from
             vacation, but we've got a case
             that just can't wait.

As he's talking, the far blinds close themselves. A white
screen lowers from the ceiling, ready to catch the
projected VIDEO:

A handsome MAN IN HIS 20'S in a CNN profile. The sound is
muted, be we see him attending a gala; in an office surrounded
by computers; rock climbing; smiling in a sit-down interview.

                           CHARLIE'S VOICE (CONT'D)
             Meet Eric Knox.

                           NATALIE
             He's cute.

                           BOSLEY
             He is.

Oops, did Bosley say that out loud?

                           CHARLIE'S VOICE
             He's 28-years old, and in three days
             he'll be a billionaire, when his
             company, Knox Technologies, goes public.

                           DYLAN
             It's good to be him.

                           ALEX
             So what's the catch?

                           CHARLIE'S VOICE
             Last night, Knox was kidnapped
             from his own office.

ON VIDEO: Surveillance camera footage of a parking
garage. Two MEN IN HOODS shove Knox into black car.
                                             (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               16.

CONTINUED:
                           NATALIE
             Any ransom?

                           CHARLIE'S VOICE
             No one's heard a thing from the
             kidnappers.

                           A WOMAN'S VOICE
             They don't want money. They just
             want to sink our company.

A striking WOMAN IN A SUIT stands in the doorway.

                           CHARLIE'S VOICE
             Angels, meet Vivian Wu, vice
             president of finance for Knox
             Technologies. She's hired us to
             find Knox.

                           VIVIAN WU
                    (entering)
             The initial public offering is in
             three days. If we don't get Mr.
             Knox back, or if word gets out
             that he's missing, the company
             stands to lose a billion dollars.

She seems to direct this next sentence right to Natalie.

                           VIVIAN WU (CONT'D)
             We need your help.

                           ALEX
             Charlie, where do we start?

                           CHARLIE'S VOICE
             Alex, I want you and Bosley to
             stake out Roger Corwin.

Bosley is excited to hear his name mentioned.

ON VIDEO: Roger Corwin. He's an unpleasant-looking man,
who's even nastier when he tries to smile. We see logos
for his company, Red Star Systems

                           CHARLIE'S VOICE (CONT'D)
             For the past year, he's been
             trying to buy Knox's company and
             their new browser software. Knox
             refused to sell. His company, Red
             Start Systems, has the most to
             gain from Knox's disappearance.

                           ALEX
             Kidnap the founder and you sink
             the company.
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   17.

CONTINUED:

                           CHARLIE'S VOICE
             Exactly, Alex. Let's keep our eyes
             on Mr. Corwin, Angels. If Knox is
             still alive, Corwin might lead us
             to him.

                            DYLAN
             We're on it.

                           NATALIE
             Any chance you can join us,
             Charlie?

                                                  CUT TO:

CHARLIE'S POV

We see his chalky fingers grabbing into a hand hold.
We're halfway up the face of Yosemite's El Capitan -- the
ground is hundreds of feet below.

                           CHARLIE (O.S.)
             I'd love to, angels, but I've got
             my hands full this morning.

Two beautiful and buxomly CLIMBING BUDDIES smile at him.

                                                  WIPE TO:

EXT. PALM SPRINGS SPA - DAY

Establishing...

EXT. SPA DECK / OUTSIDE WALKWAY - DAY

Built into the Palm Springs Hills, this very exclusive
spa has a fantastic view of the desert.

Dressed in a crisp spa uniform, Alex has a sidebar with a
white-robed Bosley. She shows him a tiny electronic
device shaped like a bullet.

                           ALEX
             This is a transmitter. I'll be
             able to hear everything you say.

                           BOSLEY
             Where do I hide it?
                    (leaning close)
             I'll be nude.

Alex takes a plastic cup, drops the transmitter into it.
Covers it over with ice chips from a nearby bucket.

Bosley nods, clever.
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  18.

CONTINUED:
                           ALEX
             Try to get Corwin to talk about
             the industry, Knox, anything.

                            BOSLEY
             Understood.

She points him in the direction of the men's spa.    But he's
frozen with excitement.

                           BOSLEY (CONT'D)
             I'm going undercover.

                            ALEX
             I know.   You'll do great.

INT. MEN'S STEAM ROOM - DAY

A burst of steam clears, revealing Bosley. He waddles forward
in his shower clogs, which SQUISH with every step. He's wearing
two towels: one around his waist, and a second around his
chest.

As more steam dissipates, we see there    are SEVEN MEN sitting on
the risers. Six are gorgeous, ranging     from Calvin Klein models
to Marlboro Men. Bosley looks around,     taking a keen interest.
Maybe he's checking them out, maybe he    isn't. We just don't
know.

The seventh man is ROGER CORWIN, who we recognize from
the videotape. He's leaning forward, a gold chain
dangling. It's beside him that Bosley takes a seat.

He sets the ice cup -- and the transmitter -- in a
strategic location.

Noticing that none of the other men have towels around
their bosoms, Bosley nervously undoes his, revealing skin
the color of cooked salmon. He fluffs up his sparse chest hair,
then decides to smush it back down.

He tries to make eye contact with Corwin, working way too
hard. Annoyed, Corwin finally looks over.

                           BOSLEY
             Hot in here, isn't it?

Corwin shakes his head, idiot.

                           BOSLEY (CONT'D)
             Just came here to unwind a little.
             Business these days is go go go. My
             company just held an initial pubic offering.

Yes, he said "pubic." He's about to correct himself when
a very hot guy across from him moves his towel to wipe off
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                19.

CONTINUED:

some sweat. We don't see the promised land, but Bosley
does. It flusters him.

He sees another guy eating ice chips. Good idea.      Bosley
does the same. He eats another. And another.

                           BOSLEY (CONT'D)
                    (re-composed)
             So, what business are you in?

Corwin seems wary, but Bosley is clearly harmless.

                            CORWIN
             Computers.   Software.

                           BOSLEY
             Computers, hunh? What do you know
             about this new browser from Knox
             Technologies?

Corwin bristles at the mention.

                           BOSLEY (CONT'D)
             Word on the street is, once they
             raise capital, they'll rule the
             industry.

                           CORWIN
             I don't see that happening.

                            BOSLEY
             Really?   Why not?

The door opens, a rush of steam. ADONIS HIMSELF enters.
Picking a seat behind Bosley, he pulls off his towel as
he passes. We just see a bit of ass, but Bosley is face-
to-face with the babymaker.

One ice chip is not going to do it.    He chugs the rest of
his cup, including

THE TRANSMITTER

which BLEEPS.    Corwin and others look over.    What the hell
was that?

The device still in his mouth, Bosley has no choice but to
smile and swallow. His eyes go wide as he chokes it down.

Corwin gets up to leave.

                           BOSLEY (CONT'D)
             Nice talking with you.

Another BLEEP. He shuts his mouth tight. Smiles. Rubs
his chest a bit, trying to get the transmitter down.

CHARLIE'S ANGELS - 8/18/99                               20.

INT. PRIVATE MASSAGE ROOM - DAY

Corwin walks into a lushly-appointed private massage
room. A masseuse dressed in a skimpy robe, her back to
us, oils up her hands sensuously near the window.

                        MASSEUSE
                 (German accent)
          Please to take off clothes, Mr. Corvin.

Corwin gets under the sheet, on his stomach. The
masseuse turns around, and now we see that it's Alex.

Alex starts to work on his back. She is clearly an
expert at this. This is a legit place, but there's
something undeniably sensual about the whole experience.

                        ALEX
          You're carrying a lot of tension
          along ze fourth und fifth vertebrae.
          Let me see if I can vork it out.

Under the table, we look up to see Corwin's face in the
cradle. He's in a tortured rapture.

Alex works along Corwin's back and neck.   She pulls his
arms out to the side.

                        ALEX (CONT'D)
          The human body is an amazing instrument.
          Just by activating ze right energy
          points, you can improve ze circulation,
          alleviate pain, or...

Corwin goes limp.

                        ALEX (CONT'D)
                 (losing the accent)
          ... knock a man unconscious.

Confident Corwin is out cold, she slides the key strap
off his wrist.

INT. EXECUTIVE LOCKER ROOM - DAY

Making sure she's alone, Alex uses the key to open a
locker. She carefully sorts through Corwin's things,
finding his Palm Pilot organizer. She clicks it into a
special device, which BLIPS as it downloads all his
information.

Putting the Palm Pilot away, she shuts the locker.

INT. MASSAGE ROOM - DAY

CLOSE ON Corwin as he suddenly wakes up, disoriented.

                                               (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   21.

CONTINUED:

Just when we think Alex's plan has failed, we TILT UP to
see Alex is right there. She's massaging him.

                           ALEX
             You must have dozed off.

A beat. Yeah, he must have.     A patented ANGELS FLIP
leads us to...

                                                   CUT TO:

INT. NATALIE'S EXCELLENT CONVERTIBLE - DAY

The Angels are all in the car together, cruising down
Sunset Boulevard. Dylan drives, Alex in the passenger seat,
Natalie in the back seat with her computer on her lap.

                           NATALIE
             Can you not drive my car so fast,
             Dyl? I'm trying to type.

                           DYLAN
                    (to Alex, under her breath)
             I drive too fast. Look who's talking.

She pulls into an In N' Out Burger, right up to the drive thru.

                           DYLAN (CONT'D)
             Three double doubles, animal style.
             Fries. Three chocolate shakes.

While they wait for their order, Natalie punches
something up on her computer.

                           NATALIE
             Here's Corwin's itinerary.

ONSCREEN -- we see a list of all Corwin's plans for the
next week. Two events in particular stand out:

     TUESDAY NIGHT -- INVESTOR RECEPTION, BILTMORE HOTEL

     THURSDAY -- SAN DIEGO RACEWAY

Dylan glances over the schedule.

                           DYLAN
             Alright, we'll hit the reception tonight.
             I only wish we had a clue to go on.

The food comes, Dylan takes it.

                           NATALIE
             Hold that thought.

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                    22.

CONTINUED:

Natalie goes back to the computer again, slipping a CD
into the drive. Dylan hands out the food, spilling a lot
of it. A big glop of chocolate shake lands on the
keyboard.

                            NATALIE (CONT'D)
             Uh, hello?   Expensive equipment.

                              DYLAN
             Sorry.

Natalie licks the shake off her fingers, tapes away at
the keyboard.

                           NATALIE
             Check this out. New program I just
             got from a friend in the Bureau. We
             take that footage from the kidnapping...

On screen, the footage downloads from the CD, into the
program. Natalie fast forwards through it until she
comes to a shot of one of the kidnappers where his mask
is partly pulled away from his face.

                           NATALIE (CONT'D)
             ... isolate the part of the suspect's
             face that's revealed, then retriangulate
             his bone structure...

The program zooms in on the revealed part of his face,
then runs a series of calculations. A new drawing starts
to appear.

                              NATALIE (CONT'D)
             ... and voila!     We've got a composite.

Natalie's portable printer spits out a simulated
composite of one skinny, bad-looking dude. Dylan grabs
it, looks it over.

                          DYLAN
             Sweet. Now we've got someone to
             look for.

She hands it to Alex to inspect.

                           ALEX
             Oh yeah. He'll be easy to spot
             with that open head wound.

She turns the composite around, revealing that Dylan has
smudged his head with ketchup.

They all just have to laugh.

                                                   WIPE TO:

CHARLIE'S ANGELS - 8/18/99                                  23.

INT. BILTMORE BALLROOM - DAY

A sophisticated reception is in full swing, an ocean of
smart suits and power ties.

Dressed as a catering waitress, Natalie carries a tray of
hors d'oeuvres. MOVING WITH her, we pass ROGER CORWIN, who
talks with another suit, and further on, a conservatively-
dressed DYLAN who chats up a group of WALL STREET TYPES.

                           DYLAN
             The average investor sees technology
             stocks as discrete entities, "This one is
             up 50 points, this one is down 10." It's
             only through derivative analysis that one
             sees the real power of that sector.

A few nods.    She makes a good point.

                           BROKER GUY
             Which analysis method do you prefer?

On Dylan.    Shit.     She tries to stall...

                           DYLAN
             Well, there are so many options.
             I mean, who can say what the one
             best choice is?

ACROSS THE ROOM

Still walking, Natalie talks to no one...

                           NATALIE
             Keppler-Wilson.

BACK WITH DYLAN

                            DYLAN
             For my money, Keppler-Wilson is a
             strong choice.

More nods, ad-libbed agreement.        The Broker Guy is impressed.

Excusing herself, Dylan turns and subtly touches her ear,
where she's wearing a hidden radio.

                             DYLAN (CONT'D)
             Thanks.

AT THE BAR

Natalie loads champagne flutes onto her tray.

                             NATALIE
             Anytime.

                                                    (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                     24.

CONTINUED:
                             MAN'S VOICE (O.S.)
             Anytime what?

She looks up to see a very cute bartender, PETE (26).
She didn't realize he was so close.

                           NATALIE
                    (covering)
             Anytime, day or night, I am... excited
             ... to be handing out champagne.

Oh God.   What did she just say?       But he smiles anyway.

She heads back out into the crowd.       You can almost see
the big L on her forehead.

BY THE FOUNTAIN

Dylan has been watching this.        We INTERCUT between her
and Natalie.

                             DYLAN
             He's cute.

                             NATALIE
             I'm working.

                           DYLAN
             Sixty-five percent of relationships
             begin in the workplace.

                           NATALIE
             He's a bartender. I need dependable.
             I need reliable. I need a Volvo man.

Natalie walks past Dylan, not acknowledging her.        Dylan
snaps her fingers.

                             NATALIE
             Miss!   Miss!   I'd love some champagne.

Natalie comes back, a little annoyed. Dylan takes a
glass for herself, then foists the other glasses on
everyone around her, whether they wanted it or not.

                           DYLAN (CONT'D)
                    (to Natalie)
             Why don't you get some more?

She nudges Natalie in that direction.

AT THE BAR

We TILT UP from a Japanese comic book to Pete.       He
suddenly realizes Natalie is waiting for him.

                                                    (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  25.

CONTINUED:
                             PETE
             Sorry.

He starts filling more flutes.

                           NATALIE
             What are you reading?

He holds it up.

                           NATALIE (CONT'D)
             That's the new Michio Kazura.
             That's not even out in America.

                           PETE
             You know Michio Kazura?

                             NATALIE
             Hello?    Warriors of the Broken Earth?   Classic.

                           PETE
             I know. I just moved back from
             Tokyo. It was the biggest thing
             since Haikiri Nomura.

                           NATALIE
             Tomuru nasgawa ishi Tokyo sen!
                           PETE
             Nagada quing-gong ni.     Ni zeru.
Imagine that.    Natalie takes her tray and reluctantly
heads off.

ON DYLAN

                            DYLAN
             Ask him out.   Ask him out.

ON NATALIE

She turns and heads back.

                             NATALIE
             I'm Natalie.

                             PETE
             Pete.    Good to meet you.

                           NATALIE
             Listen, there's an animation festival
             at the Egyptian this week. I was
             wondering if you might want to...

                           PETE
             Tomorrow night? Eight o'clock?
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                26.

CONTINUED:
                           NATALIE
             I'll meet you there.

ON DYLAN

She smiles, hearing the deal close. Pushing through a
cluster of investors, she bumps into a THIN MAN.

                            DYLAN
             Pardon me.

He doesn't respond, but something about this man raises
her suspicions. Where has she seen him before? As he
moves out of earshot...

                            DYLAN (CONT'D)
             Natalie.   Nine o'clock. Thin man.

ON NATALIE

                            NATALIE
             I'm on it.

Spotting the Thin Man, she heads his way.

                           NATALIE
                    (offering)
             Vegetarian spring roll?

He waves her away, no. Oops, she drops a napkin in front
of him. She kneels down to get it.

As we move in VERY CLOSE ON her tray, we see that there's
a tiny Digital display. A metal detector is built into
the rim.

It BLIPS as she moves past his ankle. And again as she
rises up past his chest. The man just keeps walking.

                           NATALIE (CONT'D)
                    (to earpiece)
             Two guns. One ankle, one shoulder.

                            DYLAN
             You call it.

                           NATALIE
             You take point. I'll circle behind.

                            DYLAN
             Copy.

INT. HALLWAY - DAY

The Thin Man is headed down the hall.    Looking back, we
see Dylan enter from the ballroom.
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 27.

CONTINUED:
                           DYLAN
             Excuse me?

He doesn't turn back.

                           DYLAN (CONT'D)
             Excuse me, do you know which way
             the ladies' room is?

The man takes a sudden right into a service hallway.

                           DYLAN (CONT'D)
             Why do they always run?

She slips off her heels to give chase.

INT. SERVICE HALLWAY - DAY

The Thin Man comes around the corner.       We stay TIGHT on
him, until he suddenly stops.

NATALIE

has come around from the other side. His bad guy instincts
tell him these women are working together. He's boxed in.

And then, a DING!

Elevator doors open beside him. He looks in to see the clue-
less BELLBOY, who had a funky groove going on his headphones.
In a single motion, the Thin Man yanks the guy out into the
hallway and takes his place. Hits the button.

From opposite directions, Natalie and Dylan run to the
elevator, but the doors have already shut. Checking the
panel.

                           DYLAN
             He's going down.

They take the stairs.

INT. BASEMENT SERVICE HALLWAY - DAY

Natalie and Dylan emerge from the staircase to find the
elevator empty. To the left, exit doors swing tellingly.

EXT. DOWNTOWN LOS ANGELES - DAY

Nat and Dylan smash through the exit doors and out into
the sun-drenched streets of beautiful, downtown Los
Angeles. Natalie immediately spots the Thin Man, booking
down the alley.

                           NATALIE
             That way.
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 28.

CONTINUED:

And they take off after him.

What ensues is the fastest, wildest, two chicks and one
guy foot chase you've ever seen. Here are some highlights:

-- Thin Man pulls himself, clumsily, over a chain link
fence. Dylan and Natalie pull an old Jackie Chan trick
and run up the side wall and hop over easily.

-- Thin Man, still on foot, waits for traffic to slow,
then darts across the Harbor Freeway. By the time Dylan
and Natalie get there, traffic is roaring again.
Undeterred, they make their way through, tucking and
rolling under the wheels of a moving semi.

-- Dylan is racing down an alley, when a car comes barrelling
at her. She leaps up onto the hood of the car as it drives
underneath her, a la one of those That's Incredible! stunts.

-- They chase the Thin Man into an industrial laundromat.
The scene goes something like this:

INT. INDUSTRIAL LAUNDRY ROOM

Thunderously LOUD, with industrial washers and dryers operating
at full tilt. Natalie and Dylan are just entering when

THREE SHOTS

ring out.    They dive for cover behind a massive washer
assembly.

                           NATALIE
             There are times I wish we carried
             guns.

                           DYLAN
             Where's the challenge in that?

ANGLE ON the Thin Man, planning his next move. With no
good shot at the angels, he aims high, both guns BLAZING.
He shots out the pipes over their heads, sending down a
cascade of hot water.

Dylan and Natalie scramble back to avoid getting scalded.

Other pipes SHATTER from the change in pressure, leading
to an interior thunderstorm. Steam fills the room as an
inch of water grows on the floor.

Natalie and Dylan push rolling laundry carts in the Thin
Man's direction. He shoots at them, but quickly realizes
they're just trying to waste his bullets.

Holstering one of his guns, he dials his cell phone.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                    29.

CONTINUED:

On the far wall, Natalie switches on the overhead hooks,
which circle on a wire like a ski lift. The Thin Man
looks up, distracted, not noticing --

DYLAN

As she creeps up behind the cover of the rolling laundry
carts. She's succeeded in circling behind the Thin Man
as he talks on the phone.

She clears her throat.      The Thin Man turns.   She kicks
him in the jaw.

Knocked back, he drops the phone, which CRACKS and slips
under a washing machine.

He crab-walks back, then suddenly springs back to his feet.
We weren't expecting that kind of ninja move out of this guy.

HE TURNS TO SEE

NATALIE

right behind him. With a coiled towel, she grabs his gun
arm and expertly flips him. But he reacts smoothly, rolling
over to charge at Natalie, picking her up like a sack of
potatoes. As he does, he grabs her right in the tit.

                             NATALIE
             Hey!    Hands off, assh....

Before she can finish her sentence, the Thin Man throws
Natalie at Dylan, knocking them both down. He jumps up,
and with a single motion grabs an overhead pipe and kicks
another, releasing a wall of steam -- we can't see a thing.

By the time the fog clears, the Thin Man is long gone.

                           NATALIE
             Okay, to summarize? Damn.

Lying down in the water, Dylan reaches under the washer
to fish out the Thin Man's busted cell phone.

INT. TOWNSEND AGENCY BACK ROOM - DAY

Natalie sits at a glowing computer monitor, the Thin
Man's cell phone connected by a data cable to the
Townsend Agency computers. Rapidly touching the screen,
she calls up a list of the last thirty-five phone calls
he received. They're all from the same location.

                            BOSLEY
             Well.   That was easy.

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   30.

CONTINUED:

                              NATALIE
             No, it wasn't.

She points to some code next to the numbers.

                           NATALIE (CONT'D)
             I've seen this before, he's
             scrambling his calls through a
             secondary location.

                              BOSLEY
             In English?

                           NATALIE
             We need to tap this phone line
             at the source, THEN we'll know
             where his calls were coming from.

                            DYLAN
                     (checking out the numbers)
             503?   That's not local, where is it?

                           NATALIE
             Bos, can we check a directory?

                           ALEX
             Don't bother. I know where it is.
             I used to spend every winter there.

As she says it...

                                                   CUT TO:

EXT. ASPEN - NIGHT

The sign says it:     Welcome to Aspen.

VARIOUS ESTABLISHING SHOTS of the gorgeous mountain town,
still somehow quaint despite its astonishing wealth.

EXT. COWBOY BAR -- NIGHT

A rowdy establishment just outside of town.

INT. COWBOY BAR --     CONTINUOUS

The kind of place that rich weekend skiers don't come.
Lots of over-aggressive, cowboy-biker types, drinking more
than they should. There are only a few women in the place,
and they are either waitresses or biker chicks. Suddenly,
everyone stops what they're doing and turns to the door.

CHARLIE'S ANGELS have entered the room. Dressed in their
stylish ensembles, they couldn't possibly look more out of
place.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 31.

CONTINUED:
                            NATALIE
             Hey look!   Mechanical bull.

                           DYLAN
             Eyes on the prize, Nat.   We gotta
             tap the phones.

                           ALEX
             That looks like our target.

She points to a door at the back of the bar that leads
into a glassed-in office. Two, beefy bouncer types are guarding
the door.

                           ALEX (CONT'D)
             I'm gonna need a distraction.

Dylan and Natalie smile at each other.

                           DYLAN
             I think that can be arranged.

The Three Angels split up, Bosley tagging along with Dylan.

DYLAN

sidles up to the bar. A group of three rednecks are
downing shots, one after another.

                           DYLAN (CONT'D)
             Three shots of tequila, please.
                    (Bosley whispers in her ear)
             And one Tom Collins.

The rednecks stare at Dylan, drooling.       Dylan turns to the first
one.

                           REDNECK
             Hey baby, why don't you ditch that
             stiff and come sit on ma lap?

Bosley tries to make himself small.

                           DYLAN
             Ooh, that is an enticing offer.
             But I got a better idea. How
             about a shot contest? My treat?

The three rednecks hoot and holler.

                           DYLAN (CONT'D)
             Okay, I'll take that as a yes. Bartender?
             Bring ten shots of tequila over to my
             table. And keep em coming.

BY THE MECHANICAL BULL
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  32.

CONTINUED:

A group of wanna bes are waiting their turn at the
mechanical bull. Natalie wanders over behind them.

                              NATALIE
             Mind if I try?

The crowd parts for her, and Natalie hops up on the bull.
She cranks it up, and lets

BY THE BAR --

Dylan downs a shot, slams it on the table.      Countless
other glasses surround her.

REVEAL that two of the rednecks are down for the count, one
falling out of his chair, the other passed out on the table.

The third redneck is slurring badly, trying to keep up
with Dylan.
                         DYLAN
          Hey, I've got an idea. Now let's
          have a chair throwing contest.

                              REDNECK
             Hunh?

                           DYLAN
             Chair throwing? Never heard of
             it? You just pick up your chair
             and throw it as far as you can.

The redneck nods, lifts up his chair and heaves it across
the bar.

OKAY, HERE'S AN OUTLINE OF WHAT WILL HAPPEN IN THE REST OF
THIS SCENE:

Dylan and Natalie create a distraction, while Alex sneaks
into the back office with Bosley to get the phone number
of the chalet.

EXT. HIGH MOUNTAIN ROAD - NIGHT

A VW van climbs the winding road.       As we get closer, we see the
side reads, "Chalet Grams."

A DING-DONG DING-DING-DONG doorbell rings.

INT. MOUNTAIN HOUSE / GREAT ROOM - NIGHT

TWO THUGS with shoulder holsters look up, hearing the bell.
One was tending to the fire.

                           THUG ONE
             We expecting somebody?
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                              33.

CONTINUED:

Thug Two shakes his head.

Checking his gun, Thug One grabs for his windbreaker.
Puts it on over.

EXT. FRONT PORCH - NIGHT

Thug One opens the door to find Dylan and Natalie dressed
in Swiss Miss outfits, complete with blonde braids.

                           DYLAN
             Guten Tag!

                           NATALIE
                    (correcting Dylan)
             Guten Morgen!

                           DYLAN
                    (correcting Natalie)
             Guten Nacht!

                           DYLAN AND NATALIE
                    (to each other)
             Guten Freund!

The girls lean in and hug each other, butts sticking out.
To the left, Bosley starts playing oommpa OOMMPA oommpa
OOMMPA on a wrap-around tuba. He's wearing lederhosen,
with a feather in his hat.

Natalie begins to YODEL.

Dylan hands a fancy envelope to the bewildered thug. Thug
Two is approaching from behind, curious what the hell is
going on.

Dylan begins to TALK-SING a song in German about a too-
curious goat and his worried mistress. Even with the pantomime,
we have no idea what's happening. It seems
wholesome, but occasionally one of the girls touches the
other in a weirdly coquettish, oddly sexual way.

Thug Two looks at the address on the envelope.

                           THUG TWO
                    (low)
             They got the wrong address.

                           THUG ONE
             Shut up.

As the angels continue their routine, the CAMERA RISES,
three quick cuts to take us to...

CHARLIE'S ANGELS - 8/18/99                               34.

EXT. THE ROOF - NIGHT

... where a black cat-suited Alex stands at the
chimney... A ribbon of smoke curls from the stack.

Pulling the pin from a canister, she drops it down the
chimney.

INT. MOUNTAIN HOUSE GREAT ROOM - NIGHT

A cheerful fire burns in the over-sized fireplace. The
canister drops into the flames from above, suddenly
venting a HISSING cloud of halon gas. The fire dies
immediately, the logs covered with a violent frost.

INT. THE CHIMNEY - NIGHT

Alex doesn't even need a rope. Her feet pressed to the
sooty walls, she expertly slides to the bottom.

INT. GREAT ROOM - NIGHT

Alex backs out of the fireplace to find a WAITING BAD GUY
swinging

A FIREPLACE POKER

at her head. She ducks just in time.     The poker CHINGS
against the stone, making a spark.

Rolling, jumping and diving, Alex scurries as Pokerman
slashes and stabs. She ducks behind a chair, which
Pokerman catches with the hook, winging it across the
room.

Backed against the wall, Alex yanks on the heavy
curtains, pulling them down, along with the wooden
curtain rod. A spin, a flourish of velvet and the
curtain rings drop off to leave her with a trusty
quarterstaff.

She goes on the offensive.    Thrust, parry, spin.

But he's a worthy adversary. One good karate kick breaks
her staff in two. She uses both pieces to club him in
the knees, then rolls back to the fireplace.

She grabs the remaining tool: the fireplace tongs.
Pokerman swings. Alex catches his weapon in the tong
scissors, yanking it free with such force the point sticks
in the wall.

A quick kick knocks Pokerman to the floor, where Alex
rolls on top of him. She catches his head in the tongs,
squeezing his temples. His eyes bulge.

                           ALEX
          Where's Knox?

CHARLIE'S ANGELS - 8/18/99                                  35.

INT. WINDOWLESS ROOM - NIGHT

Young billionaire ERIC KNOX paces. He's grungy, with
two days of stubble, but still a darn attractive guy.

Hearing a KICK at the door, he turns.

A second KICK blows the door open.     It's Alex.

                           KNOX
          Who are you?

                           ALEX
          The calvary.     Giddy up.

EXT. FRONT PORCH - NIGHT

Bosley is about to hyper-ventilate on the tuba, sweaty
and a little blue.

Dylan and Natalie's new song has them sharing the saddle
of an imaginary horse. When Dylan reaches back to slap
the "horse," she hits Natalie in the rump. Both women
tee-hee.

The thugs think it's pretty hot.

Dylan whispers a secret to Natalie.     Natalie WHISPERS
back.

Turning to the thugs, they each lean in to WHISPER into
a different thug's ear. As the men smile, the angels
suddenly BONK the two men's heads together. Both men
fall, knocked out.

Stepping over the bodies, Dylan heads inside.

INT. MOUNTAIN HOUSE HALLWAY - NIGHT

Looking for the way out, Alex leads Knox to a closed
door. She opens it to find...

INT. TV ROOM - NIGHT

... TWO MORE THUGS sitting in front the big-screen TV,
watching a college basketball game (Duke vs. Maryland,
in case you care.) The guards look back, spotting Alex
with Knox.

That wouldn't be so bad, if it weren't for the

FIFTEEN OTHER THUGS

watching the game with them.

ANGLE ON Alex.   It's an oh-shit moment.

                                                    (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   36.

CONTINUED:

                             ALEX
             Sorry.    Wrong room.
                      (to Knox)
             Back!    Run!

The thugs are out of their seats a moment later, each of
them pulling out a firearm.

EXT. FRONT PORCH - NIGHT

Holding down three keys on the tuba, Bosley talks into
the mouthpiece. It has a secret radio.

                           BOSLEY
             Alex, what's your status?

INT. STAIRCASE - NIGHT

Running, Alex pushes Knox ahead of her, checking their
backs. She talks into a wrist-mic.

                            ALEX
             Good news:   I found Knox.

Another THUG steps out in front of her.      She kicks him
down the steps.

                             ALEX (CONT'D)
             Bad news:    I found company.

Reaching the bottom of the steps, Knox is surprised to be
grabbed by Dylan.

                             DYLAN
             This way.

At this point, he'll do whatever they say.

EXT. FRONT OF MOUNTAIN HOUSE - NIGHT

Dylan rushes Knox across the driveway to the waiting van
-- Natalie is pulling it around. Overhead, bright
security lights switch on.

Back at the front door, Alex pulls it shut. She attaches
a carabiner clip to the handle, running a thin steel cord
from it around the porch column.

INT. FOYER - NIGHT

The first of the thugs reaches the door, tries to pull it
open but can't. The next few guards try to help him,
while the rest start smashing through the windows.

CHARLIE'S ANGELS - 8/18/99                               37.

EXT. FRONT OF MOUNTAIN HOUSE - NIGHT

Running with the tuba, Bosley stops for a moment to catch
his breath, hands on his knees. Okay, ready to run
again.

He's the last to be pulled into the van.    A spray of
gravel and they're off.

INT. THE VAN - NIGHT

Everyone is piled on top of each other. Dylan and Knox
have a few awkward moments as they get untangled. Bosley
keeps making inappropriate TUBA NOISES.

At the wheel, Natalie is fierce and focused, in total
control.

Looking out the back windows, Alex sees the kidnappers
piling into jeeps to give chase. From the side of the
house, more thugs appear on motorbikes.

                        ALEX
          They're coming after us.

                        DYLAN
                 (to Knox, confident)
          We were expecting that.

                        NATALIE
          Okay, new problem.

Everyone's attention WHIPS FORWARD to see the headlights of

GIANT LOGGING TRUCK

coming up the high mountain road. It straddles the
center line, blocking both directions. There's no way
around it.
                         NATALIE (CONT'D)
           Thoughts, suggestions, points to
           consider?

                        BOSLEY
          I don't suppose giving up would
          be a...

No, it wouldn't.   Then --

                         DYLAN
          Right!

                        NATALIE
          There is no right.

                         DYLAN
          There!
                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   38.

CONTINUED:

She points to a faded "CLOSED" sign that hangs from a
chain. In the darkness, who knows what it's blocking.
But as we hear the THUNDEROUS HORN from the oncoming
truck, we know there's no choice.

Natalie cuts a hard right, SMASHING through the sign.

The van THUMPS AND BUMPS its way across the low grass,
its headlights only showing ten feet ahead. At any
moment, the ground could stop in a cliff.

Like now.

The van leaps into empty space.      Tires spin, helpless.
The van falls.

Everyone SCREAMS.    Bosley is the loudest.

And then, touchdown. The van hits the ground, hard but
not catastrophically. Natalie hits the brakes, cuts the
wheel hard to avoid hitting

A CONCRETE WALL

in front of them.    Everyone takes a beat to acknowledge
they're alive.

                             DYLAN
             Where are we?

Suddenly, a BRIGHT LIGHT goes on overhead.

EXT. THE MOUNTAIN - NIGHT

One by one, a series of arc lights switches on, forming a
snake all the way to the bottom of the mountain.

INT. THE VAN - NIGHT

Looking out the back windows...

                           ALEX
             It's a bobsled run.

They're facing backwards.

Up ahead, the kidnappers are charging down the access roads.
The first of two jeeps makes the jump into the bobsled chute.

                           NATALIE
             If it goes down the mountain,
             that's all I need.

Throwing it into reverse, Natalie peels out.

The jeeps follow.

CHARLIE'S ANGELS - 8/18/99                               39.

EXT. BOBSLED RUN - NIGHT

The VW Van leads the way down the mountain, tail-first.
As it builds speed, it starts to climb the wall, each turn
getting steeper and steeper.

The two jeeps are following. Facing the right direction,
they have a much easier time of it.

INT. VAN - NIGHT

Everything is shaking so violently, it looks like a NASA launch.

                         ALEX
                  (looking out the back)
           Hard left! HARD LEFT!

Natalie makes the turn. The van rises up, nearly tilting
over. But they make it through the turn.

                         KNOX
                  (to Dylan)
           Is this part of the plan?

                         DYLAN
           Yes. Except for the bobsled run,
           and the backwards part, it's
           going exactly according to plan.

A beat.   He smiles at her.   He has a nice smile.

EXT. BOBSLED RUN - NIGHT

One of the jeeps makes a move, closing the distance to
the van. A RIFLEMAN leans out the passenger window,
lining up a shot. He FIRES.

INT. THE VAN - NIGHT

The shot blasts cleanly through the top of the windshield,
through the horn of Bosley's tuba, then out the back window.   It
missed hitting somebody by millimeters.

Natalie is still focused, making each turn as Alex calls it.

EXT. BOBSLED RUN - NIGHT`

The front jeep gets even more aggressive, building speed.

It hits the next turn too fast, rising up too high along
the wall. It tips further, and further, finally rolling
over onto its back. It SCRAPES across the concrete, a
shower of sparks as it slows down.

With nowhere to go, the second jeep brakes hard, but can't stop.
It SMASHES into the first jeep, a tangle of steel.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                              40.

CONTINUED:

The combined mass continues sliding down the run, like a
jagged pinball in the chute.

INT. THE VAN - NIGHT

Dylan looks out through the windshield as the jeep combo recedes
farther and farther away.

                           DYLAN
             I think we're in the clear.

Just then, two MOTORBIKES race up along the chute walls, passing
the crippled jeeps. Two more MOTORBIKES jump in from above.

                             DYLAN
             Or maybe not.

Suddenly, Natalie GASPS, remembering something.

                             NATALIE
             Oh God, no.

                             DYLAN
             What is it?

WHIP CUT TO:

EXT. EGYPTIAN THEATRE - NIGHT

A dejected Pete stands in front of the sign for the anime
festival, two tickets in hand.

WHIP BACK TO:

INT. THE VAN - NIGHT

                           NATALIE
             I have a date with Pete.   Right now.

                             DYLAN
             Ouch.

                             ALEX
             HARD RIGHT!

Natalie makes the hard right. The motorcycles are gaining on
them, but Natalie and Dylan have to talk through this first.

                           DYLAN
             Call him, he'll totally understand.

                           NATALIE
             "Gee, sorry Pete. I had to rescue a
             billionaire."
                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  41.

CONTINUED:

                           ALEX
             Hard left!

She makes the left.

                           NATALIE
             I'll sound like a flake.   I can't
             stand flakes.

                           DYLAN
             He will so give you the second chance.

                           NATALIE
             You think?

                           DYLAN
             Hello, I saw the way he looked at you.

One motorcycle charges, coming up just feet from the
windshield. Natalie taps on the brakes. The freaked out
guy can't slow down in time. He SMACKS into the windshield,
then goes flying.

                           ALEX
             We're at the bottom!

Indeed, we are. The concrete walls end, leaving open ground.
Slamming on the brakes, Natalie turns the van around.
Everyone goes flying. Bosley is still on the phone with
Charlie.

EXT. BASE OF THE MOUNTAIN - NIGHT

Back facing the right direction, the van charges onward.
The motorcycles race up to the passenger side, grabbing
for the door.

INT. THE VAN - NIGHT

Dylan SLAMS open the door, knocking one RIDER off.

The sliding door opens, another RIDER outside trying to get
in. Thinking fast, Knox grabs Bosley's tuba and shoves it
at the motorcyclist, who tumbles, taking out the fourth
rider in the process.

                           DYLAN
                    (genuinely impressed)
             Well done.

                           KNOX
             Thanks.

                                                  CUT TO:

CHARLIE'S ANGELS - 8/18/99                                42.

HELICOPTER

thunders over.    We are...

INT. THE HELICOPTER - NIGHT

Natalie is at the controls, Bosley beside her.      Alex leans
forward from the second row.

                           BOSLEY
             I think that went very well. Charlie
             should send me on more missions.

                           ALEX
             We couldn't have done it without
             you, Bos.

Natalie pats him on the arm. She and Alex exchange a quick
glance. They have to just laugh.

In the back row, Knox is looking out over the gorgeous lights
of Aspen.

                           DYLAN
             Cocktail?

She offers him an airplane-sized bottle of Johnnie Walker
black. He takes it and toasts. They both down their drinks
in a single shot. A smile, and then...

MUSIC rises.

THE ANGELS TRIPTYCH descends.

The act is over.    After a beat, we

WIPE TO REVEAL:

EXT. CHARLES TOWNSEND DETECTIVE AGENCY - DAY

Re-establishing.

INT. CHARLES TOWNSEND DETECTIVE AGENCY - (THE NEXT) DAY

Charlie is on the speakerphone.      The angels are in their
usual lounging positions.

                           CHARLIE'S VOICE
             Good work, Angels. Not only did you
             save Knox, you saved his company as well.

                           DYLAN
             I think that earns us a vacation.

                           NATALIE
             Say, Fiji?

                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 43.

CONTINUED:

                           ALEX
                    (to Natalie)
             Any special guy you were thinking
             of inviting?

Natalie grins a guilty smile.

                              CHARLIE'S VOICE
             Sorry, Angels.     Our work is only
             half-done.

Knox enters. Clean-shaven and neatly pressed, he's still a
darn good-looking man. Vivian Wu follows him.

                           CHARLIE'S VOICE (CONT'D)
             Meet your new client, Eric Knox.

                           KNOX
             First off, thank you. You rescued
             me, for which I am eternally grateful.

He's talking to all the angels, but his gaze seems to fall
most upon Dylan. She notices it.

                           KNOX (CONT'D)
             But there's still a problem. Whoever
             kidnapped me wasn't just trying to
             screw up our IPO. They also stole
             the proprietary software for our new
             web browser. I'm sure it was Roger
             Corwin, but I need proof.

                           CHARLIE'S VOICE
             That's where you come in, Angels.

CIRCLING AROUND, we see the video images of Corwin and the
Red Star Systems logo on the big screen.

                           CHARLIE'S VOICE (CONT'D)
             We need to break into Red Star's computer
             systems to see if Mr. Knox's software is
             indeed being converted for Red Star's use.

                           NATALIE
             Sounds like a plan.

                           CHARLIE'S VOICE
             Not as easy as that, Natalie. Red
             Star's headquarters are as tightly
             guarded as a military facility.
             We're going to need reconnaissance
             on their mainframe computer system,
             and the best way to get that is
             through Mr. Corwin himself.

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 44.

CONTINUED:

A video image of Corwin's Palm Pilot Schedule comes up the
bigscreen. The shot pulls in close on "SAN DIEGO SPEEDWAY."

                           CHARLIE'S VOICE (CONT'D)
             We need to pin a camera on him to get
             footage of the inside of the building.
             Thanks to Alex's work at the health spa,
             we know that Corwin will be at the San
             Diego Speedway on Thursday. Get close to
             him Angels, but don't tip your hand.

                           ALEX
             Consider it done.

                           CHARLIE'S VOICE
             Dylan, I need you to arrange for Mr.
             Knox's security. I'd hate to have him
             kidnapped again.

                           DYLAN
             Absolutely. But we'd all feel safer
             if you could join us, Charlie.

                                                CUT TO:

UNDERWATER

From Charlie's P.O.V., looking up at the sunlight.      Three
manta-rays swim above us.

We can hear the BUBBLES from Charlie's regulator.

                           CHARLIE
             I'd love to Angels. But I'm in a
             bit over my head at the moment.

A manta-ray swims past, super-close, letting us...

                                                WIPE TO:

EXT. KNOX HOUSE - DUSK

A majestic craftsman in the hills, Frank Lloyd Wright meets
conspicuous consumption.

INT. KNOX HOUSE ATTIC - DUSK

A flashlight beam sweeps past, revealing Dylan. With just
her shoulders above the rafters, she's checking a dusty
crawl space. She finds nothing suspicious.

INT. KNOX'S WALK-IN CLOSET - DUSK

Knox stands below, Dylan's boots on his shoulders. The heels
dig in a bit, but he's not complaining.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                45.

CONTINUED:
                           DYLAN
             We're good.

He moves to help her down, but she does a reverse-pullup to
handle it by herself. She leads the way...

INT. KNOX'S BEDROOM - DUSK

The room is huge. Through the floor-to-ceiling windows, we see
that we're up in the hills.

Knox follows her as she walks.

                           DYLAN
             I've got surveillance on all the windows.
             Don't answer the door, don't answer the phone.

We continue...

INT. KNOX LIVING ROOM - DUSK

Just as big, just as beautiful. Knox, or his decorator, has
great taste. Everything is top quality, but unpretentious.

                           DYLAN
             Also, stay away from the windows.

                           KNOX
             They're bullet-proof.   The last
             owner was paranoid.

                           DYLAN
                    (a smile)
             Lucky for us.

She takes a marker-sized device off the table.

                           DYLAN (CONT'D)
             This is a panic button.
                    (tosses it to him)
             Press it and one of us can be here
             in ten minutes.

                           KNOX
             Which one of you?

                           DYLAN
             Whoever's closest.

She takes her jacket off the couch, ready to go.

                           KNOX
             I have a better idea.

                           DYLAN
             What?
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 46.

CONTINUED:

He tosses her the panic button.

                           KNOX
             Stay for dinner.
                    (preempting objections)
             I'm a pretty good cook.

                           DYLAN
             I can't Mr. Knox. I'm sorry.     If you...

                           KNOX
                    (quickly)
             I'm scared.

Dylan is surprised by this.

                           KNOX (CONT'D)
             Look, I didn't want to admit it, but I
             am. I was kidnapped once, and it wasn't
             fun. I know, you probably have other
             plans, but it would be very reassuring.

Dylan looks him over. Normally, she'd be suspicious, but
the guy WAS just kidnapped, and he seems sincere.

                           KNOX (CONT'D)
             Come on, don't make me beg. I'm
             embarrassed already.

She smiles.

                            DYLAN
             Don't be.

She throws her coat back on the sofa.

INT. KNOX LIVING ROOM - NIGHT

We PAN OFF a half-played Scrabble game to find Dylan and
Knox at the windows. Dylan picks up a family photo, Knox
as a little boy with a father in a military uniform.

                           DYLAN
             That's you, hunh? Cute kid.    Cute
             family.

                            KNOX
             Thanks.
                    (taking the photo)
             It's the only picture I have of me with
             my parents. They died a week later.

                            DYLAN
             Oh.   Oh, I'm sorry. I had no idea...

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 47.

CONTINUED:

                           KNOX
             Please, don't apologize. I was too
             young to understand.
                    (looking at the photo)
             I never knew how they died. When I
             was a kid, when I got shuffled from
             one foster home to another, I always
             thought they just disappeared.

                            DYLAN
             But...?

                           KNOX
             I only found out later, my father was
             in the military. He and my mother were
             killed while he was on assignment,
             somewhere in Eastern Europe.
                    (mostly to himself)
             The files were classified, but I
             read enough to know that he was a
             good man. Apparently, he was
             betrayed by one of his own team.

                            DYLAN
             Wow.   That's a lot for a kid to live with.

                           KNOX
             Yeah, but it motivated me, losing my
             family. It still does. I don't take
             anything for granted.

Dylan nods.

                           DYLAN
             Boy did I have you pegged wrong.

                           KNOX
                    (intrigued)
             How do you mean?

                           DYLAN
             Well, to be honest, I thought you
             were a rich kid who inherited
             everything. But that's pretty typical.
             I've got instincts for the job, but
             when it comes to men? Well...

                           KNOX
             I'm glad you don't see me as just a client.

He brushes his hand against hers.     She brushes back, fingers
against fingers. A long beat.

                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   48.

CONTINUED:

                            DYLAN
             Oh.   Well, you ARE, so...

                           KNOX
             Is there someone you need to be going
             home to?

                              DYLAN
             No.
                    (beat)
             But I...

He kisses her. After a moment, she breaks off. It's not that
it was a bad kiss. It was a damn good kiss. It's just...

                              DYLAN (CONT'D)
             I shouldn't.

Knox moves towards her.

                              KNOX
             Shouldn't you?

Dylan holds him back.

                            DYLAN
                     (firmly)
             No.   I shouldn't.

She stands up.

                           DYLAN (CONT'D)
             Thank you for dinner, Mr. Knox.    And
             lock the door behind me.

She gets up and leaves.

                                                   CUT TO:

FORMULA-ONE RACE CARS

ROARING past on the track.       It's all thunder, smoke and
asphalt. We are...

EXT. SAN DIEGO SPEEDWAY - DAY

With a ROAR, another blur of racers whips past, with heat
and noise and speed. The lead car bears the familiar
markings of RED STAR INDUSTRIES. Roger Corwin is at the
wheel, steering calmly to a comfortable lead, when he is
suddenly BUMPED.

                              CORWIN
             What the...?

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  49.

CONTINUED:

ANOTHER BUMP sends him screeching to the left. He almost
crashes, then gets back on course, just as he's passed by...

A SLEEK, BLACK CAR, sponsored by the SONY CORPORATION, and
manned by a mysterious driver with TEXAS TORNADO inscripted on
the helmet. We follow the black car as it pulls into the pit.

EXT. FREEWAY PIT - DAY

The racer pulls off her helmet as the pit crew surrounds her.
Of course, the racer is Natalie, aka BETTY LOU HOBERT, the Texas
Tornado.

                           PIT BOSS
                    (yelling over the
                     engine noise)
             NICE RACING!
                    (beat)
             CAN'T BELIEVE YOU'VE NEVER RACED
             THIS TRACK BEFORE!

                           NATALIE
                    (Texas accent)
             BACK WHERE AH'M FROM, WE RACE IN SWAMPS
             AND BACK ROADS! THIS ALL'S A PIECE A CAKE!

Natalie shakes out her hair, winks at the pit boss.

The Pit Crew races in to make repairs. DYLAN, dressed in a
pit suit, kneels by Natalie's front tire. Natalie crouches
down next to her so they can talk.

                           NATALIE (CONT'D)
             I nicked him. Should give you
             enough time to do the deed.

                             DYLAN
             I'm on it.

Dylan steals away, heading for...

CORWIN'S PIT CREW --

Corwin is seething mad as he pulls into his pit.

                             CORWIN
             LET'S GO!    WE'RE LOSING TIME HERE!

The pit repairs his car as Corwin is approached by another
racer, also wearing a Red Star racing suit. He leans into
Corwin's car and now we see that's it's... THE THIN MAN.

                           THIN MAN
             You okay, Boss?

                                                    (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   50.

CONTINUED:

                           CORWIN
             No thanks to you! You're supposed
             to be my head of security! Who is
             that bitch?!

The Thin Man peers over at Natalie, but she's got her
back to him.

                            THIN MAN
             Don't know.   I'll keep an eye out.

                            CORWIN
             Yeah.   You do that.

Corwin peels out onto the track again, almost crushing
the Thin Man in the process.

AS CORWIN PULLS OUT

Dylan sneaks in. In all the cacophony, no one notices
as she grabs CORWIN'S SUITCASE out of the back seat of
his regular car, a bitching Mercedes. She checks both
ways to see if she's being watched.

                           BOSLEY (O.S.)
             Coast is clear, Dylan.

                                                   CUT TO:

EXT. THE WINNER'S CIRCLE

Where Alex, dressed as a trophy girl, watches the race
through binoculars and keeps an eye on her pals. She
nods to BOSLEY, who is dressed as the Flag Waver. He
speaks into a walkie talkie.

                           BOSLEY
             Let's make the switch.

BACK IN THE PIT --

Dylan pulls a briefcase out of her jumpsuit, and swaps
it with one in Corwin's car. She carefully switches all
his files from the old briefcase to the new one, then
gives Alex a thumbs up.

MEANWHILE BACK IN THE RACE --

NATALIE roars back onto the track, keeping Corwin in her
sights. Then she spots another Red Star car, coming up
right next to her. She locks eyes with the Thin Man.

The two of them recognize each other at the exact same
instant.

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  51.

CONTINUED:

The Thin Man, realizing he's been made, jams on the
brakes and skids off to the right, which leads to a ramp
that heads out of the stadium.

Natalie, not wanting to lose him, does something crazy.
Even though she's at the front of the pack, she brakes
hard, swerves into a full 180 degree U-turn, and starts
heading the WRONG WAY on the race track.

Startled drivers pull off to the left and right as she
follows the Thin Man out of the racetrack.

EXT. SPEEDWAY ACCESS ROAD - DAY

To a chorus of CAR HORNS, the Thin Man's blue racer weaves
through the spectator traffic entering the speedway.

Looking back, we see Natalie is gaining on him.

Finally clear of the traffic, both cars let it rip.

                                                  CUT TO:

HELICOPTER VIDEO FOOTAGE

Looking down on a freeway, where a ubiquitous police
pursuit is in progress.

                            TV ANCHOR VOICE
             If you're just joining us, we're
             approaching hour five of a pursuit
             that has lead us all across the
             Southland, at speeds up to 80
             miles an hour.

A beat-up gray Chrysler leads a phalanx of police cars
down the empty freeway. It's oddly calm and hypnotizing.

                           FEMALE ANCHOR VOICE
             Chuck, time and again we hear the
             question, "Why don't the police just
             ram the other car, or shoot out the
             tires?" The LAPD has a policy of
             hanging back and following unless...

Suddenly, the blue Formula One car comes screeching past
the cops and the suspect, over 200 miles per hour.

                              TV ANCHOR VOICE
             What was that?

INT. NATALIE'S RED CAR / ON THE FREEWAY - DAY

Still hot on the Thin Man's tail, Natalie has the engine
ROARING.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               52.

CONTINUED:

As she passes the police cars, we see several OFFICERS
look over -- what the hell?

Natalie catches up to the gray Chrysler. Looks over to
see the WILD-EYED SUSPECT, hunched over the wheel.

He looks back at her. A beat later, she's passed him,
just taillights on the freeway.

EXT. FREEWAY - DAY

With the lanes cleared for the other chase, there is
nothing preventing the Formula One cars from hitting top
speed -- which they do.

Natalie is catching up to the Thin Man.

As they head under an overpass, we see KIDS CHEERING.

INT. BLUE CAR - DAY

The Thin Man checks his gauges. The gas dial is perilously
close to empty -- these cars are meant to be refilled often.

Up ahead, he sees an exit.   He starts to slow down...

EXT. FREEWAY - DAY

... but when you're going 200 miles per hour, that can
take a while. He misses the exit.

Natalie is trying to match his speed.

The Thin Man pulls over to the side, stops fully.
Braking as hard as she can, Natalie still passes him.

The Thin Man throws a U-turn, heading up the freeway on-ramp.

Natalie follows.

EXT. SAN DIEGO SHIPYARD - DAY

We catch glimpses behind fences and between train cars --
the two racers gliding slowly down the narrow roads, like
lions pacing.

INT. NATALIE'S RED CAR - DAY

Pulling off her helmet, Natalie scans right and left for
the blue car -- she's lost sight of him. The narrow
windshields of these racers doesn't make it any easier.

EXT. SHIPYARD - DAY

We LOOK DOWN on Natalie's car as she rounds a corner,
still searching.

CHARLIE'S ANGELS - 8/18/99                               53.

EXT. PIER - DAY

Natalie spots the blue racer reaching the end of the
long pier. It pulls a U-turn to face her, then stops,
engine idling. There's only way off the pier, and it's
past Natalie.

The Thin Man REVS his engine.

Natalie REVS hers.

ANGLE ON a white seagull, pecking at something on the
pier, halfway between the two racers. The bird looks up,
hearing the engines.

ANGLE ON the Thin Man. He pulls his harness tighter.
REVS his engine higher.

ANGLE ON Natalie. If it's a game of chicken he wants,
she'll give it to him. She REVS her engine higher still.

The noise scares the bird, who suddenly flies off. Like
a flag being dropped, that's the signal for both racers
to peel out.

A cloud of SMOKE.    Rubber on asphalt.

Already reaching a tremendous speed, the racers are on a
collision course. The Thin Man isn't going to turn away.
Neither is Natalie.

Racing faster, and faster still, there's only one way
this can turn out. But then, at the very last moment,
the Thin Man wusses out. He cuts the wheel right,
missing Natalie and careening off the edge of the pier.

In SLOW MOTION, we watch as his racer hangs in mid-air,
wheels still spinning. Back-heavy, the tail hits the
water first.

Natalie brakes hard, cuts the wheel to avoid going off
the far end of the pier. She finally stops, the rear
tire just 1/4 inch from the edge.

CRANING UP along the side of the pier, we find Natalie
looking into the water where the blue racer went in.
There's just a slick of oil and a steady stream of bubbles.

                                              CUT TO:

VIDEO / CAMERA'S P.O.V.

We see lots of hallways, doorways and security locks, all
from the POV of a man's hip.

The footage is from the camera in the switched briefcase
that Corwin is now carrying with him.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               54.

CONTINUED:

We PULL BACK from the video to see we are actually
watching it...

INT. CHARLES TOWNSEND AGENCY - DAY

... on the big screen. The angels and Bosley watch the
footage, along with Knox and Vivian Wu. Vivian has
seated herself close to Natalie. So close, in fact, that
Natalie keeps having to shift a few inches.

Dylan, meanwhile, sits across the room from Knox,
deliberately avoiding eye contact.

ON THE BIG SCREEN: As the videocamera passes a room
marked with an intimidating warning sign...

                           KNOX
             There!

VIDEO FREEZES.

                           KNOX (CONT'D)
             That's the room with the
             mainframe. Everything at Red Star
             goes through that system.

                           CHARLIE'S VOICE
             So if we want to find proof that
             Red Star stole Knox's technology,
             that's the computer to tap.

                           KNOX
             Exactly. But they have heavy firewalls
             and encryption. You can't jack in from
             outside. You'll have to physically be
             in that room to get at the data.

                           ALEX
             Even if we do get inside, there won't
             be time to search for it. There's got
             to be a hundred terabytes of
             information there. It could take days.

                           NATALIE
             So you install a transmitter.

All eyes go over to Natalie.

                           NATALIE (CONT'D)
             Patch in directly to the relay,
             broadcast on a high frequency.
             That way, you can have access to
             the mainframe from the comfort of
             your own home. And they have no
             idea that you can peek inside.
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               55.

CONTINUED:

Knox is impressed.    The other angels nod.   It's a good idea.

                           VIVIAN WU
             That's all fine in theory. But you
             still have to get inside that room
             to install it. What about security?

                           ALEX
             Red Star has a lot of Government
             contracts, so security is tight. Key-
             card badges throughout. Redundant
             security at all red-line areas with
             biometric scanners and weekly keycodes.
             Pervasive video surveillance, lasers,
             air-displacement sensors. Plus a hard-
             wired fail-safe at the relay to prevent
             exactly this kind of tapping.

                           VIVIAN WU
             It sounds impossible.

Alex checks with her fellow angels.    They're in agreement.

                           DYLAN
             It sounds like fun.

With a subtle RUSH, we move into a stylized MONTAGE that
shows How They Do It. It features WHIP PANS, FREEZE
FRAMES and ZOOMS to show us only the highlights.

                           NATALIE (V.O.)
             Only the two directors can disengage the
             fail-safe. We have to get their keys.

WHIP CUT TO:

INT. NUDE NUDE NUDE GIRLS - DAY

ANGLE ON DIRECTOR #1, 40's, part of the lunchtime crowd.
Alex and Natalie are on the catwalk, in the middle of a
grinding routine. Paying for his drink, he fumbles with
his wallet. His waitress helps him find the right bill.

As she walks away, we see the waitress is Dylan. FREEZE FRAME.
We ZOOM IN on the orange key-card she's grabbed from him.

EXT. BACK YARD BIRTHDAY PART - DAY

ANGLE ON Bosley, done up in full clown makeup. He tries
to twist a balloon animal, but no luck. Finally it POPS.
The CHILDREN CRY.

Entertaining the ADULTS, magician Alex whips open her silk
handkerchief to reveal that the "item" has disappeared.

                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  56.

CONTINUED:

ANGLE ON DIRECTOR #2, who looks very worried. Magician's
assistant Dylan takes off her giant hat to reveal the director's
billfold is underneath. Getting it back, he's
relieved.

Passing behind Dylan, Natalie takes the orange keycard
Dylan hands off. FREEZE FRAME. ZOOM IN.

                           ALEX (V.O.)
             Then we have to get back into Red
             Star. Problem is, their biometric
             sensors are too good.

                           DYLAN (V.O.)
             We need someone's help.

                                                 WHIP TO:

EXT. STREET OFF MULHOLLAND - DAY

ANGLE ON Roger Corwin, driving his Mercedes.     He slows,
a road crew working ahead.

ANGLE ON Dylan, dressed in an orange vest, manning the
slow/stop sign. She makes Corwin stop, leans in to
apologize for the delay.

Behind the Mercedes, Natalie sneaks up. She quickly
picks the trunk lock, then quietly climbs in. She hoists
in a large duffel bag, then shuts herself inside.

INT. TRUNK OF CORWIN'S MERCEDES - DAY

We HEAR the car moving again.

Stripped down to a bra, Natalie attaches an illuminated mirror
to the underside of the trunk lid. Starts to pull more items
from her duffel bag: black shoes, a dress shirt, a tie.

EXT. RED STAR - DAY

Establishing. We see Corwin's Mercedes pull into the
parking garage.

INT. PARKING GARAGE / RED STAR - DAY

Walking away from the car, Corwin hits the remote.    The
Mercedes BWOOPS.

A beat later, a hand comes out from under the trunk lid.
Natalie climbs out, only she's not Natalie anymore.

She's become Corwin -- identical to the last detail.

She tucks the last of the latex mask under her collar as
she walks. FREEZE FRAME.

CHARLIE'S ANGELS - 8/18/99                                 57.

INT. SECURITY STATION - DAY

Corwin puts his right hand on the sensor grid.    A laser
scans it. Approved.

The Security Guard hits the button, releasing the gate.
He goes back to his magazine as Corwin passes through.
A beat, then...

                       A VOICE
          Tommy? You gonna let me through
          or what?

Tommy the Guard looks up, sees Corwin is still at the
counter.

                           TOMMY THE GUARD
                    (confused)
          Oh.     Yeah, sorry Mr. Corwin.

He hits the button again, letting Corwin through. Tommy
goes back to his magazine, still a little perplexed.

INT. SECURE HALLWAY - DAY

The same places we saw on the videotape. Natalie-as-
Corwin swipes the two stolen failsafe cards in a reader,
sending the lights from red to green. FREEZE FRAME.

She splices in a transmitter the size of a cigarette pack.
Pulls up a tiny antenna. FREEZE FRAME.

INT. SECURE HALLWAY - DAY

Corwin walks down the hall, still talking with his
colleague. Natalie-as-Corwin is walking right towards
them. She turns away as she passes. He didn't even spot
her.

She smiles.

                                                 CUT TO:

EXT. POSH BEVERLY HILLS HOTEL - DAY

Establishing...

INT. RESTAURANT - DAY

As a group, the angels move through the upscale lunch
crowd to find Knox and Vivian Wu at a booth.

Alex opens a slim Sony laptop, sets it on the table.

                        ALEX
          It's done. Red Star's mainframe
          is open for business.
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  58.

CONTINUED:

Astonished, Vivian Wu hits some keys, checking that what
they say is true.

                           DYLAN
                    (to a passing waiter)
             Champagne, please. Your best.

Smiling, Knox motions for them to take a seat.

                           KNOX
             Now I know why I hired you.   You're
             the best.

A look between the angels.      They know it's true.

                           VIVIAN WU
                    (to Knox, re: laptop)
             I'll have Systems get to work on
             this right away.

She reaches for the laptop.      Bosley snatches it away.

                           BOSLEY
             Uh, actually Miss Wu, WE will get to
             work on this right away. Any evidence
             we find will be turned over to you AND
             the proper authorities.

                           VIVIAN WU
             I don't think you understand how
             important that data is, Mr...

                           BOSLEY
             Oh, indeed I do. And that's why I'll
             take very good care of it when I find it.

                             VIVIAN WU
                      (reaching for the laptop)
             But...

                           KNOX
             Vivian, please. Do as the man says.

Reluctantly, Vivian Wu pulls her hand away. Bosley tucks
the laptop into a steel briefcase, then stands.

                           DYLAN
             Where you off to, Bos?

                             BOSLEY
             Vacation.

                           NATALIE
             Uh oh, lemme guess. You're off to
             chase bikinis at some tropical resort?
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  59.

CONTINUED:

                            BOSLEY
             Exactly!   Fire Island, here I come!

Dylan does a spit take, the other two Angels roll their eyes.

                            BOSLEY (CONT'D)
             Goodbye, Angels. Mr. Knox.
                     (coldly)
             Ms. Wu.

As Bosley exits the restaurant, Vivian Wu eyes him
carefully. Knox raises a glass to toast the Angels.

                           KNOX
             More champagne?

                            NATALIE
             Have to go.   Plans tonight.

                             ALEX
             Me too.

As they get up...

                           KNOX
                    (to Dylan)
             And you?

She notices the other Angels staring at her.        She doesn't answer
at first.

                             DYLAN
             Um... well...

Natalie quickly picks up what's going on.        She glances at
Alex, then clears her throat.

                           NATALIE
             Hey Dylan, can we talk to you
             for a second?

THE LADIES ROOM

Natalie, Alex, and Dylan kibbitz near the sinks.

                           NATALIE (CONT'D)
             There's something going on between
             you and Knox. Isn't there?

                           DYLAN
             So what, so I like him.   Is that
             so wrong?

                           NATALIE
             Uh, yeah Dylan, it IS.    He's a client.
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                     60.

CONTINUED:
                             DYLAN
             WAS a client.    We finished the job.

                           ALEX
             She's got a point.

                           NATALIE
             What? She doesn't have ANY point, Alex,
             I can't believe you're siding with her.

                           ALEX
             I'm not siding with anyone, but
             technically, he is no longer...

                           NATALIE
             You know Charlie would NEVER
             approve of this.

                           ALEX
             Oh come on, Charlie wouldn't care. I
             think you're just being overly cautious.

                            DYLAN
             Uh, guys?   GUYS!

They turn to look at her.

                           DYLAN (CONT'D)
             I'm a big girl. I make my own
             decisions. I'm going out with him.

She walks out of the ladies' room.

                                                     CUT TO:

INT. PARKING GARAGE / BEVERLY HILLS - DAY

Bosley hums "In the Navy" to himself as he walks through
a parking garage. He's alone in the echo-y garage, and
everything we know about movies tells us This Means Trouble.

BWEEP BWEEP as his alarm shuts off. Just as he's about
to lift the handle, he stops. Looks back over his shoulder.

Did he hear something? He scans the empty garage.         No
one in sight. Must've been his imagination.

INT. BOSLEY'S MERCEDES - DAY

Bosley climbs in, shutting the door behind him.        He's
putting the keys in the ignition, when...

A HAND clamps a chloroformed rag over his mouth. It's
the Thin Man. Bosley struggles, but in moments, he's
unconscious.

CHARLIE'S ANGELS - 8/18/99                                61.

OUTSIDE THE CAR

THE THIN MAN stuffs Bosley in the trunk, slams it shut,
revealing...

                          VIVIAN WU (O.S.)
          Sweet dreams.

Vivian Wu, standing beside the Thin Man. She's holding
the case Bosley refused to give her before.

                        THE THIN MAN
          So, now we have the transmitter, what
          do we do with fat boy? Dirt nap time?

                        VIVIAN WU
          NO! Not until I've got the
          information I need. We'll take
          him to the compound, hold him there.
                 (beat)
          In the meantime, we've got to tie
          up some loose ends.

                        THIN MAN
          Whenever you say something like
          that, it means more work for me.

                        VIVIAN WU
                 (ignoring him)
          The Angels will figure out they
          were duped. We can't afford them
          jeopardizing our plans.

                        THE THIN MAN
          Here it comes...

                        VIVIAN WU
                 (coldly)
          We have to Kill Charlie's Angels.

The Thin Man sighs, whips out his cell phone.

                        THE THIN MAN
          Guess I'll cancel my weekend plans.

And speaking of weekend plans...

                                                CUT TO:

EXT. ITALIAN STREET - NIGHT

Jason and Alex are walking down a beautiful, tree-lined
cobblestone street, holding hands. The buildings and
outdoor cafes are reminiscent of a quaint, vaguely
European town.

                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   62.

CONTINUED:
                           JASON
             Alex, I can't tell you how happy I
             am you came.

                              ALEX
             Me too.

                           JASON
             No, I mean, it's weird. It's
             weirding me out how happy I am when
             you're around. Am I sick or something?

                              ALEX
                       (smiling)
             Got me.

                           JASON
             The only bummer is, I start to
             jones when you're not around.
             What the hell am I gonna do this
             weekend, if you're not with me?

                           ALEX
             We'll get you some sedatives.
             You'll be fine.

He stops, takes her in his arms. With the moonlight
shining down, it's very romantic. They kiss. Then...

                            JASON
             Hey.   Wait a second.   Come with me!

                              ALEX
             Come with you?

                           JASON
             Miami, on the Sony Jet. I've got
             two tickets to the Final Four.

                           ALEX
             Jason, I don't...

                           JASON
             Wait, before you say no, let me just
             say something, okay? I'm sick of how
             little we see each other. I'm sick of
             stealing a day here, or a week there.

                           ALEX
             It's my job, Jason. I can't
             explain it, but I have to be on
             call, all the time, and...

                           JASON
             What if I changed all that?
                           (MORE)
                                                     (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  63.

CONTINUED:
                           JASON (CONT'D)
             What if I told you to quit your
             job, and come live with me. What
             I'm saying, Alex, is that I want
             you to...

BLAM!    BLAM!   Gunshots ring out!

                            ALEX
             Gunfire!   Get down!

Alex, in Angels mode, immediately throws him to the
ground and covers him. She feels something wet, looks
down to see Jason's chest, covered in blood.

                           ALEX (CONT'D)
             My God, you're hit. You're...

                           JASON
             Fine.  I'm fine.
                    (he laughs)
             They're squibs, it's fake.   See?

He wipes off a little, puts it on her tongue.     Finally
convinced, she almost lets herself laugh.

REVEAL

that we are in a soundstage, the cobblestones street is
just a set. The gunfire was coming from some effects
guys, who are test firing guns for the upcoming action
scene just outside the soundstage, visible through the
open loading door.

                           JASON (CONT'D)
             Fake guns, too. They're just
             setting up for the next scene.

He helps her up.

                           ALEX
             Sorry about that, I...

                           JASON
                    (smiling)
             God, I loved that. The way you
             yelled and everything? Baby, you
             been watching too many movies.
                    (he kisses her on the nose)
             Alright, I gotta go reset these.
             DON'T GO ANYWHERE. I want to
             finish this conversation.

As he walks out of the soundstage, Alex is left behind,
alone. She cleans herself off, shaking her head at her
own paranoia.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               64.

CONTINUED:

                            ALEX
             Nice, Alex.   Real nice.

THIPP!

A wall next to her sprays a cloud of plaster.     Alex looks
at the hole. That's strange.

THIP, THIP!

Two more little explosions, these barely missing her face.

                           ALEX (CONT'D)
             Hey, is someone firing more squibs
             or...

Suddenly, without warning, the wall is plastered with
SILENCED GUNFIRE. It's only Alex's instincts that let
her duck in time to avoid being turned into Swiss cheese.

She tucks and rolls behind a Styrofoam set as...

TWO GUNMEN with silenced SNIPER rifles fan out on the
fake city street.

ON ALEX --

crouched behind a wall.

She looks both ways. If she tries to break for the open
loading door, she'll lead the gunmen right back to Jason.
Only way out of here is to head for the far wall, all the
way across the building, where there's a fire exit.

Taking a deep breath, she darts across the fake street.

THE GUNMEN

fire at her, one of them pulling off his silencer and going
to machine gun mode. The sound of the gunshots are covered
by the sound of the effects guy, test firing guns outside.

ALEX --

Sees that the sets are held up by wooden support beams.
She lifts her leg and delivers a solid blow, cracking the
two-by-fours in half.

THE GUNMEN

move slowly through the fake street set. Suddenly, they
hear a creaking sound. They look up to see the whole,
fake building set collapsing!

They dive out of the way, just in time to see Alex race
through the fire doors.

CHARLIE'S ANGELS - 8/18/99                                65.

EXT. BACKLOT - NIGHT

Alex races out of the soundstage and jumps into her car,
parked nearby. The Gunmen emerge from the stage and spot
her, just as she gets the car started. She peels out as
a hail of gunfire just misses her windshield.

EXT. OPPOSITE SIDE OF THE SOUNDSTAGE

Jason has just gotten his squibs refitted. He's facing
the opposite direction, so he doesn't see Alex's car
whizz away in the background.

INT. SOUNDSTAGE

Jason walks into the Soundstage, followed by the effects crew.

                            JASON
          Alex?     ALEX?

Of course, she's nowhere to be found. While he looks
around, one of the effects guys fingers a bullet hole in
the set wall. He presses against it and a FLATTENED
BULLET FALLS OUT.

He thinks for a moment, then shakes his head.   Couldn't be.

                                                CUT TO:

INT. EGYPTIAN THEATRE - NIGHT

A passing FILMGOER reveals Natalie and Pete. Seated near
the aisle, they share a giant tub of popcorn. The movie
hasn't started yet, but there's a slide show of various
anime heroes and villains.

                        NATALIE
          Thanks for the second chance. I
          swear, I'm really not a flake.

He shrugs it off.

                        PETE
          How can I deny any woman who's
          seen all 23 "Lords of Wind and
          Power"?

                        NATALIE
          I bet there's a dozen women here
          who fit that description.

She's right.

                        PETE
          Honestly -- there's a looks
          component as well.

                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   66.

CONTINUED:
                             NATALIE
             Really.

                           PETE
             You're the most beautiful woman
             I've ever seen this close up.

How can she not be flattered by that? She would say
something back, but the moment has gotten so electrified
that each little glance just brings on more goofy-in-
loveness.

The only solution is to leave...

                             NATALIE
             Ladies room.    I'll be back in two minutes.

                             PETE
             I'll be here.

INT. LADIES ROOM - NIGHT

A wee bit smitten, Natalie enters as the last WOMAN leaves.

We hear just the DRIP DRIP DRIP of a faucet and the Muzak
version of Power Station's "Some Like It Hot."

NATALIE

IN A STALL

Natalie shuts the door behind herself, then sets to work
putting down a tissue-paper seat cover.

SWEEPING ACROSS THE FLOOR

We look under stall doors to find a pair of black men's
boots stepping down from inside. Natalie is not alone.

IN HER STALL

Natalie is about to hoist her skirt when she stops.         Her
Spider Sense is tingling.

A DOOR LATCH

CLICKS open. We TILT UP to see a WELL-DRESSED MAN.          He's
at least 6'3".

He stops at Natalie's stall door, drawing his gun.      A
beat, then he KICKS the door open, revealing...

AN EMPTY STALL.

The automatic toilet FLUSHES itself.      The Man takes a
half-step in, confused. Suddenly --
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                67.

CONTINUED:

The door swings back, SMASHING into his right hand.     He
drops the gun, looking up to see

NATALIE,

Who is perched atop the stall walls.     She pushed the door
with her foot.

Grabbing an overhead pipe, she performs an acrobatic
swing, landing both feet on the guy's head. He falls
into the next row of stalls.

Natalie reaches for the gun, but the Man grabs her ankles.
He pulls her back across the tile floor, flipping her over.
That just makes it easier for her to kick him where it counts.

With a scissors lock around his neck, Natalie is pulled
up while the Man falls. She lands a knee on his windpipe.

                           NATALIE
             Who do you work for?

He tries to pull her off.    She leans in harder.

                           NATALIE (CONT'D)
             Speak now or never again.

                            THE MAN
                    (motioning with eyes)
             Jacket pocket.

Suspicious, she digs inside his coat to pull out a leather
billfold. Flips it open to reveal an I.D. that reads...

                           NATALIE
             National Security Agency?   You're with the NSA?

                           THE MAN
             I've been following you. I didn't
             know which side you were on.
                    (beat)
             This is bigger than you think.

INT. MOVIE THEATER - NIGHT

The anime classic is playing. Pete keeps looking back
towards the door. He's been ditched again. Just when he's
about to give up hope, Natalie is there.

                            NATALIE
             I'm so sorry, but I have to go. I
             can't explain.
                    (hands card)
             This is my cell phone number. Please
             call me tomorrow. Please. I'm sorry.
                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                     68.

CONTINUED:

With that, she goes. A beat, then she comes back.
Kisses him once, hard. Then goes for real.

                                                     CUT TO:

EXT. HOLLYWOOD HILLS - NIGHT

Dylan and Knox walk hand in hand up a quaint, woodsy path
behind Knox's home. We can hear music drifting up from
the hill in front of them.

                           DYLAN
             Where's that music coming from?

                             KNOX
             You'll see.    Just a little farther.

He helps her up a steep part of the path.       As she comes
over the crest of a hill.

                              DYLAN
             Oh...
                       (taking in the view)
             Oh wow.

DYLAN'S POV --

The hill behind Knox's house has a magnificent view right
into the Hollywood Bowl. The music is the symphony
playing something very romantic.

                           DYLAN (CONT'D)
             That's amazing.

They stand there, together, just listening to the music,
Knox watching her reaction closely.

                           KNOX
             Can I ask you a personal question?

                              DYLAN
             Maybe.

                           KNOX
             How much do you know about Charlie?

Dylan seems surprised by this question.

                           KNOX (CONT'D)
             I just find it strange that you
             work for a man you've never met.

                           DYLAN
             Well, I don't know what he looks like,
             but I feel like I know him. We all do.
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  69.

CONTINUED:
                           KNOX
             And none of you have any clue who
             he actually is?

                             DYLAN
             Nope.

                           KNOX
             And you're never curious to find out?

                           DYLAN
             Of course, but believe me, it's
             impossible. I've tried.
                    (beat)
             Let's not talk about Charlie,
             okay? Or work.

She smiles t him, motioning for them to go back up to
Knox's house.

                           DYLAN (CONT'D)
             In fact, let's not talk at all.

                                                 WIPE TO:

INT. KNOX'S HOUSE - NIGHT

Dylan and Knox are asleep in his bed, when the doorbell
CHIMES. Dylan bolts upright. She slips out of bed, peers
out the window. Vivian Wu is waiting by the front door.

                           DYLAN
             Eric, it's Vivian.

                             KNOX
             Hmmm.    I wonder what she's here
             for?

                           DYLAN
             Want me to tell her to come back, or...

                           KNOX
             No, no.  I'd better deal.
                    (he kisses her)
             You go back to bed.

Knox pulls on a robe, goes downstairs.

STAY ON DYLAN --

as she pulls on her clothes, her CELL PHONE rings.     She
grabs it.

                             DYLAN
             Hello?

                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 70.

CONTINUED:

                           NATALIE
             Dylan, we were set up. Vivian Wu is not
             who she says she is. She's a former
             assassin and an all around bitch.

                            DYLAN
             Oh no.   OH SHIT. Natalie, she's HERE!

                            NATALIE
             What?!

                           DYLAN
             I'm at Knox's, she just showed up!

EXT. FREEWAY - NIGHT

Driving her own highly excellent car, Natalie has it floored.

INTERCUT

                           NATALIE
             I'm ten minutes away. Wait until I
             get there.

                           DYLAN
             I can't do that. Call Alex and meet
             me here.

                            NATALIE
             Dylan...

But Dylan's already hung up.     Cursing her partner, Natalie
races the car even harder.

INT. KNOX'S LIVING ROOM - NIGHT

Knox is sitting at the coffee table, signing papers. Vivian,
sitting across from him, has her cell phone open. They are
both surprised to see Dylan walk into the room.

                           VIVIAN WU
             I see you take your bodyguarding
             services seriously. Still, I worry
             that no one is watching the door.

                           DYLAN
                    (covering)
             Oh, I'm watching it.     In fact, I just
             called for back up.

From her bag, Vivian pulls a silver 9MM.

                           VIVIAN WU
             All the same, I'm concerned about
             Mr. Knox's safety.
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               71.

CONTINUED:

Although Knox is clueless, it's clear the message Vivian
is sending to Dylan. She's in control here.

Vivian sets the gun on the table, in easy reach.

                           KNOX
                    (explaining)
             Vivian just came over to run through
             some numbers for the IPO.

                           VIVIAN WU
             Please, take a seat. I'm almost
             finished.

With a knowing glance at Dylan, she goes back to her
phone call.

No alternative, Dylan takes a seat beside Knox.     Both face
Vivian, whose hand is very near the gun.

Dylan looks at Knox as he reads through his papers.    He has no
idea there's anything wrong.

                           VIVIAN WU (CONT'D)
                    (on phone)
             Really. How disappointing.

Vivian gestures to the abandoned Scrabble game on the table.
Why not play?

                           DYLAN
             I'm not much for games.

                            VIVIAN WU
             Pity.

As Knox flips pages in the report, Dylan casually begins
pushing Scrabble letters around, nothing serious. But she's
managed to spell...

ENEMY

She gets Knox's attention, looks to the word, up to Vivian.
Knox follows her intention, but doesn't seem to believe it.

While Vivian continues to talk on the phone, Knox sets his
report down. Pushes around some letters of his own. The
words finally come out as...

I   KNOW

CLOSE ON Dylan.      What does that mean?

Vivian snaps her phone shut.

                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 72.

CONTINUED:

                           VIVIAN WU (CONT'D)
                    (to Knox)
             Bad news: The other angels are still
             alive. Good news: Everything else
             proceeding apace.

Dylan stands up.    What the hell is going on?

Vivian draws the gun on her.    Knox moves over toward
Vivian's side.

                           KNOX
             Sorry Dylan. I knew this moment
             would come sooner or later. I was
             just hoping for later.

A long beat, Dylan trying to wrap her head around this.

                           DYLAN
             All this time, we thought Red Star
             was behind this, but it was you.
                    (realizing)
             You faked your kidnapping.

Knox taps his nose.    She's got it.

                           DYLAN (CONT'D)
             Why?

                           KNOX
             To gain your trust. And get your
             help.
                    (beat)
             I want you to know, my personal
             attraction to you was a sincere
             and unrelated complication.

                           DYLAN
             Oh, well, in that case I feel a lot
             better about you being a lying pole
             smoker.

Dylan looks like she's about to leap forward and tear Knox's
throat out. Vivian gestures for Dylan to keep stepping back.

                           DYLAN (CONT'D)
             I can't believe I trusted you.

                           KNOX
             Why not? You trust Charlie and you've
             never even met him.

Dylan crosses the sill, out onto the balcony.

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   73.

CONTINUED:
                           KNOX (CONT'D)
             And believe me, there's a lot about
             him that you don't know. Anyway,
             I'm not going to be an idiot and
             stand here talking when we could do
             something useful, like KILL YOU.
             Goodbye, Dylan, I'll miss you...

How right he is, because as soon as Vivian squeezes the
trigger...

Dylan drops to the floor, then rolls.

BLAM!

the bullet misses Dylan and slams into the bulletproof window
causing a spider-web crack to spread. Dylan sees her
opportunity and heads right for the window while Vivian
pumps off shots.

As she comes to the window, Dylan jumps up in the air and
does a flying kick, hitting right at the spot where the
bullet impacted.

SMASH!

The bulletproof glass shatters outward, and Dylan flies out
the window, onto the ledge.

                            KNOX (CONT'D)
             Wow.
                    (to Vivian)
             I've never seen YOU do something
             like that.

                            VIVIAN WU
             Oh, shut up.

                                                   CUT TO:

EXT. BALCONY - NIGHT

Dylan looks over the edge of the balcony. The drop-off is
incredibly steep -- the house is built on stilts -- and the
fall looks like it would kill her. But she doesn't have
much choice.

KNOX AND VIVIAN

come running out onto the balcony, just in time to see Dylan
jump. They rush to the edge, look down into a forbidding
thicket of trees.

                           VIVIAN WU
             She can't have survived.   It's too far.
                           (MORE)
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                74.

CONTINUED:

                           VIVIAN WU (CONT'D)
                    (beat)
             Still, I should probably check...

Knox shakes his head.

                           KNOX
             We've got more important things to do.

The two of them head back inside.    As they do...

We hold on the railing, then slowly start to drift down, to
the underside of the balcony. Dylan has attached her belt to
the bottom of the railing, and is hanging in the rafters. As
she pulls herself back up...
                                              WIPE TO:

EXT. AIRPORT -- NIGHT

A black sedan pulls onto the tarmac. Knox and Vivian Wu emerge,
then hustle into a waiting private plane.

INT. ANGELS DETECTIVE AGENCY

Natalie, Dylan and Alex nurse their wounds and compare notes.

                           DYLAN
             I can't believe Knox tried to kill me.
             I mean, I've been lied to, I've been
             cheated on, but no guy has ever
             tried to SHOOT me before.
                    (coldly)
             I'm gonna get him for that.

                           ALEX
             He played us from the very start.
             It was all just so he could get us
             to tap into Red Star. He couldn't
             figure out a way to do it himself.

                           NATALIE
             Who knew that we are actually
             tapping into the main servers for
             The National Security Agency?

                           DYLAN
             And now, thanks to us, he's had hours
             to download whatever top secret
             information he wants, for God knows
             what reason.

The angels take a beat to let their indignation grow.

                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                            75.

CONTINUED:
                           NATALIE
             Wait a minute. We installed the
             transmitter, yes, but we never gave
             him the receiver.

                             ALEX
             What?

                           NATALIE
             That laptop was the only way to access
             the transmitter. And we gave the
             laptop to...

They look at each other...

                             ANGELS
             Bosley!

And on that note...

EXT. BEACHFRONT COMPOUND - FLORIDA COASTLINE - DAY

We PUSH IN over the water to reveal the massive complex -- half-
villa, half-castle. Built into the green hills, it's
flanked by oversized windmills.

EXT. STAIRCASE -       DAY

Armed guards, as if they were necessary, make sure no one
goes up or down a staircase that leans up into the tower,
where their dangerous prisoner is being held.

INT. COMPOUND TOWER - DAY
Bosley's cell, as such, is a round room.

Bosley flits about in a panic. He's hardly touched the gourmet
food on his tray. Except for the pudding. He loves pudding.

JUMP CUT TO:

Still a-twitter, Bosley flips through the 500 channels on
his big-screen TV. He watches a few moments of E!

JUMP CUT TO:

As the Thin Man takes the tray away, Bosley suddenly attacks
him with the silverware. With a single hand to Bosley's
forehead, the Thin Man holds him at arm's length, harmless.
He takes the weapons away.

JUMP CUT TO:

Bosley WHISTLES to a bright red songbird who has landed
on the windowsill. The bird WHISTLES back. Bosley thinks
they're having a conversation.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  76.

CONTINUED:

Bosley is going a little insane.

JUMP CUT TO:

In his spacious bathroom, Bosley is sitting on the toilet,
rocking as he makes spaceman noises.

We hear a PLOP in the water, and then a BLEEP BLEEP.

Curious, he stands up and looks in the bowl.      He's surprised
by what he sees.

                                                  CUT TO:

INT. TOWNSEND AGENCY - DAY

Alex is on the phone, frantically dialing numbers.

                           ALEX
             Come on, Bosley, answer.
                    (she hangs up, then,
                     to the Angels)
             I've tried all his numbers and paged
             him five times. No answer.

                           NATALIE
             I don't even want to think about
             what I'm thinking right now.

                           DYLAN
             Don't!  He's alive, he's gotta be.   If...
                    (she pauses)
             What IS that?

There's a very faint voice coming from Bosley's desk drawer.
Dylan walks around the desk, yanks it open...

                            BOSLEY (O.S.)
             Angels!   Angels, can you hear me!

Dylan grabs the radio receiver from the drawer, holds him up.
Bosley's voice gets louder.

                           BOSLEY (O.S.) (CONT'D)
             I don't know if you can hear me. I don't
             know if this thing is even working.

The Angels crowd around Dylan and the receiver.     It seems
impossible.

EXT. COMPOUND TOWER - DAY

CLOSE ON a satellite mini-dish mounted to the roof. We CRANE
DOWN to look in a tower window, where Bosley is hunched over
the TV.

CHARLIE'S ANGELS - 8/18/99                                77.

INT. COMPOUND TOWER - DAY

On the top of the TV, a wire runs from the satellite feed to --

THE TINY RADIO

that Bosley swallowed at the spa.   It's worked its way
through his system.

                         BOSLEY
           I know you can't answer, but... I
           really hope you can hear this.

EXT. RUINS OF TOWNSEND AGENCY - DAY

The angels still can't believe they're hearing his voice.

                         DYLAN
           Can we trace him?

                         NATALIE
           Not off a boosted signal. We'd
           have to be within 20 miles.

                         ALEX
           Come on, Bosley. Tell us where you are.

INT. COMPOUND TOWER - DAY

                         BOSLEY
           I don't know where I am, really. I'm
           in a round room. The walls are white.
           Well. Not white-white. More of a
           cream, or an eggshell. Vanilla. Yes,
           I'm going to say vanilla.

INTERCUT

This isn't helping.

                         BOSLEY (CONT'D)
           I can see the ocean.

                         ALEX
           Bingo.

Dylan finds a globe amid the wreckage.     Wipes off the soot.

                         BOSLEY
           I don't know which ocean. I was
           blindfolded the whole time. We were
           flying. It must've been three or
           four hours. Maybe more.

                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  78.

CONTINUED:

With her fingers, Dylan figures out how far he could have
flown. Estimates the circumference.

                           DYLAN
                    (frustrated)
             He could be anywhere in North America.

The bird Bosley was whistling to lands on the TV, looks
at the transmitter, curious. SINGS its song.

                           BOSLEY
             Wherever it is, they have really
             good pudding.

Natalie holds up a finger -- stop.

                            DYLAN
                    (incredulous)
             What, pudding?

The bird SINGS its song again.      Natalie smiles.

                          NATALIE
             Hear that? That's a blue spotted
             egret. They only live in one place.

                           ALEX
             Florida.

The MUSIC revs up, as we...
                                                  CUT TO:

EXT. VILLA COURTYARD

A HELICOPTER touches down inside the villa gates.     Knox
and Vivian emerge.

INT. COMPOUND - DAY

Knox and Vivian walk into a fully macked computer room,
where the Thin Man is supervising a techie as he taps away
at Bosley's laptop.

                           KNOX
             Well?

                           THIN MAN
             Our access was cut off at the source.

                           KNOX
             GODDAMNIT!

                           THIN MAN
             But not before we retrieved the
             information you wanted.
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  79.

CONTINUED:

The Thin Man pulls a piece of paper out of a printer,
hands them to Knox.

                           THIN MAN (CONT'D)
             The National Security Agency's secret file
             on the man known as Charles Townsend.

Knox smiles.    Takes the print-out.

                           KNOX
             Finally.
                    (beat)
             How about Bosley? Did we get the
             information we wanted?

                           THIN MAN
             Once we we drugged him, he sang like a bird.

The Thin Man hands Knox another print-out.

                           KNOX
             Hmmm. Miami Arena.    Preparations
             have been made?

                             THIN MAN
             Yes.    We move out tonight.

                           KNOX
             Excellent.
                    (beat)
             Where IS Bosley?

                           THIN MAN
             In the tower. We were waiting till
             you gave the word.

                             KNOX
             Well?    No time like the present.

The Thin Man nods.

INT. KNOX COMPOUND - DAY

The Thin Man cocks his gun as he heads to the tower to do
away with Bosley. Then...

                             HENCHMAN
             Sir?    You should take a look at this.

The Henchman leads Thin Man into...

SECURITY ROOM

A room lined with monitors that survey the courtyard. Henchman
points to one in the corner.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                  80.

CONTINUED:
                          HENCHMAN (CONT'D)
             See here? Look at the timer on
             the camera.

                           THIN MAN
             It's not moving.
                    (beat)
             Oh, this is the oldest one in the
             book. Punch up camera three.

Another camera angle comes up, this also a view of the
empty courtyard.

                              THIN MAN (CONT'D)
             Now pan left.

The Henchman does what he's told and, on the monitor...

WE SEE DYLAN, dressed in a black cat suit, as she rewires
a security camera. She glances around, making sure no
one sees her.

                           THIN MAN (CONT'D)
             The old re-loop the video camera trick.
             And look, she's not even carrying a gun.
                    (beat)
             What is this, amateur hour?

                                                  CUT TO:

EXT. COURTYARD - DAY

Dylan sneaks her way through the courtyard, doing an
admirable job of trying to stick to the walls. As she
comes around the corner.

                              THIN MAN (O.S.)
             Um, excuse me?     I think you're
             trespassing.

She whips around to see the Thin Man, standing right
behind her. She instantly swings at him, he blocks it.
She's about to swing again when five guns get cocked
against her temple. She's surrounded by guards.

NOW --

The thin man and his boys lead Dylan into the house.

                           THIN MAN (CONT'D)
             No offense, but as "storming the
             castle" plans go, this one sucked.

                          DYLAN
             Oh yeah? And I suppose you could
             do better?
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 81.

CONTINUED:

                           THIN MAN
             Yeah, I sure as hell could.

                           DYLAN
             Oh, right.

                           THIN MAN
             How about an underwater entry? Or
             hang gliding over the main tower?
             There's a million good ways in, if
             you just do your homework.

Dylan glares at him, and as she does...

We move in CLOSE ON Dylan's funky belt buckle.       There's a
tiny camera concealed there.

EXT. OUTSIDE THE COMPOUND - DAY

Natalie and Alex huddle around a three-inch monitor,
getting live video from Dylan's camera.

                           ALEX
             You heard the man.

                           NATALIE
             Nice work, Dyl.

They move into action.

EXT. SECOND STORY VERANDAH - DAY

Dylan is led inside by the Thin Man.       Knox is waiting for her.

                           THIN MAN
             Present for you, sir.

                           KNOX
             Dylan, how nice. Welcome to my
             Florida home. Not as tasteful as
             the one in LA, but much more private.

She shrugs off the goons -- enough already.

                           DYLAN
             So tell me, Knox, what's the brilliant
             plan? You gonna sell a list of our
             foreign spies to the highest bidder?
             Blackmail the President?

                           KNOX
             The first plan is too complicated,
             and the second is virtually
             impossible.
                           (MORE)
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 82.

CONTINUED:

                           KNOX (CONT'D)
             Besides, I already have all the
             money I need and my motivation is
             much simpler...
                    (leaning in close to her)
             ... revenge.

                            DYLAN
             Revenge?   Against who?

                           KNOX
             You know what? I'm not in a gabby mood
             right now. I've got a score to settle.

He flips shut a suitcase filled with C-5 explosive, the
same stuff we saw Pascal selling in the opening scene.

                           DYLAN
             Seems like you're going a bit overboard.

                           KNOX
             No, just leaving myself plenty of
             margin for error. Goodbye, Dylan.

With that, he walks out of the room.

The Thin Man signals to the Henchmen. Two of them force
Dylan to sit in one of the wooden deck chairs.

Then, with the thick packing tape, they begin binding her
arms to the arms of the chair. As they do:

                           DYLAN
             I don't know why you bother.   I've
             already won.

                            THIN MAN
             Is that so?

                           DYLAN
             Every moment I sit here is a
             moment I'm using to figure out how
             to take you down. In fact, this
             statement -- this one I'm making
             right here-- is just me stalling
             for time while I decide which of
             your goons I'm going to flatten
             first.
                    (whispering)
             It's gonna be the guy behind me.

The Thin Man can't help but be amused. After all, there
are six guards and one blonde -- who is now taped to a
chair.

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               83.

CONTINUED:

                           THE THIN MAN
             Really?

                            DYLAN
             By the time your guys are firing,
             I'll be at about 180 on my reverse
             inverted 360, which will land me
             on Fat Boy there, as promised.
                     (nods to the second guard)
             He'll take the chair seat in the
             chin.
                     (re: two others; very slowly)
             Now... I'm warning both of you:
             I'm going to get you to shoot each
             other. I know. Cliche as that
             sounds.
                     (then to the last two)
             Last, you guys -- hell, I'll make
             something up. We'll have fun.

The Thin Man smirks oh-so-confidently.

                           THE THIN MAN
             And what will you do to me?

                            DYLAN
             You won't even be here. I mean, I
             don't want to tell you how to do
             your job, but you should've killed
             me by now. Because I already know
             that your people are onto my
             people, which means any moment now
             you're going to be called out to
             go and deal --

Suddenly the door flies open and --

                           DYLAN (CONT'D)
             Ah!   See?

                           HENCHMAN AT THE DOOR
             We have intruders.

With a glare to Dylan, the Thin Man follows him out.

INT. UNDERWATER GROTTO

Alex, dressed in a sexy bikini, emerges from the water
and instantly takes out two guards.

EXT. SMALL GARDEN - DAY

NATALIE hang-glides into a courtyard, knocking out two
henchmen as she does. Alex catches up with her, as
Natalie pulls out a small scanner.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               84.

CONTINUED:

                           NATALIE
             Bosley's close.

                             ALEX
             You find him.    I'll get Dylan.

Natalie heads left.     Alex goes right.

INT. TOWER OFFICE - DAY

Racing up the stairs, Natalie enters a round room with
open windows on all sides. A gentle breeze stirs the
curtains. There's an amazing 360 degree view, from hills
to ocean.

According to her scanner, Bosley should be here, but
there's no one.

                           NATALIE
                    (yelling)
             BOSLEY! Bosley, can you hear me?

INT. BOSLEY'S ROUND ROOM      DAY

Hearing her voice, the feral Bosley looks up.

                            BOSLEY
             Natalie!   Is that you?

INT. TOWER OFFICE - DAY

She hears him. She keeps yelling -- so does he -- until
they both realize that his room is above hers.

                           NATALIE
             How do I get up to you?

                           BOSLEY
             There's a staircase. Look for a
             switch.

She begins frantically checking the desk, the shelves,
everything.

Her cell phone RINGS.     She answers it.

                           NATALIE
             Hello?... Pete, hi! How are you?

INT. BILTMORE HOTEL - DAY

On break, Pete is talking on a pay phone.

                           PETE
             I'm good. I just -- you said you
             wanted me to call.

CHARLIE'S ANGELS - 8/18/99                                85.

INT. TOWER OFFICE - DAY

Natalie keeps checking the shelves, looking for a secret
switch.

                          NATALIE
           I did. I do.    I mean, thank you
           for calling.

INTERCUT

                         PETE
           I'm not an insecure person or anything,
           and I've really enjoyed the very brief
           time we have spent together.

Two GOONS race up the stairs into the office.   Natalie
turns to face them.

                         PETE (CONT'D)
           I'm just wondering if it's
           something I said or did that's
           making this whole thing so weird
           between us.

The Goons approach.

                         NATALIE
                  (into phone)
           Can you hold on a sec?

Hitting MUTE, Natalie kicks the chair behind her and dives
under the desk. She comes up on the other side with a

SURGE SUPPRESSOR,

electric cords attached. She backhands it into the
goons, who jerk and twitch as electricity shoots through
their bodies.

                         NATALIE (CONT'D)
                  (un-muting)
           One more sec.

She re-mutes.

With a roundhouse kick, she flattens one of the goons,
WHACKS the other with the cell phone.

The first goon charges at her, but she sidesteps at the
last moment, leaving Goon One to hit Goon Two. Both men
topple through the open window, falling. Yikes.

                         NATALIE (CONT'D)
                  (un-muting)
           Sorry about that.

                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                              86.

CONTINUED:
                           PETE
             Listen, is this a bad time?

                            NATALIE
             No.   Not at all.

She starts searching again for the switch.

                           PETE
             You just sound distracted.

                           NATALIE
             You know, work this week has been
             really busy. It's been hard to focus.

BEHIND NATALIE, Vivian Wu reaches the top of the stairs.
She moves stealthily. Natalie has no idea she's there.

                           NATALIE (CONT'D)
             See, the thing is, I'm not a full-
             time waitress. I should have been
             more up-front about that, it's just...

At the last moment, Natalie catches a moving reflection
in a shiny trophy. Turns to find Vivian Wu swinging an
antique chair at her head.

She ducks.    The chair SHATTERS the display case.

Scrambling to get away, Natalie drops the phone.

                           PETE
             Natalie, what was that?

                           NATALIE
                    (yelling to phone)
             Everything's fine!

                           VIVIAN WU
             Hate to disagree.

Vivian upends the desk, nearly crushing Natalie. Vivian
jumps on top, ready to kick the shit out of our angel.

As we probably suspected, Vivian Wu is one hell of a
martial artist. Fortunately, so is Natalie.

In their first series of blows, Vivian seems to have the
upper hand, but Natalie rallies hard. Vivian surprises
her with a floor-sweeping kick, knocking her down.

Vivian grabs the phone off the floor.

                           VIVIAN WU (CONT'D)
             Is this the famous Charlie?

                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                87.

CONTINUED:

                            PETE
                    (confused)
             No, it's Pete.

Vivian looks at the phone. Who the fuck cares?      She
throws the phone out the open window.

Getting up, Natalie stares her down, incredulity building
to rage.

                            NATALIE
             You bitch!   I like that guy.

Mocking, Vivian wipes away a tear.

Natalie lets forth a typhoon of fury, a full-out Mortal
Kombat. Vivian is thrown back against the bookcase,
where she knocks over a candlestick.

That's the trigger for the bookcases to begin sinking
into the floor. Circling around the room, each set of
shelves drops to a different level, forming steps that
lead to the upstairs room.

As Natalie and Vivian continue to fight, Bosley sticks
his head down from above, watching the brawl. Natalie is
kicking ass.

                           NATALIE (CONT'D)
                    (to Vivian)
             Do you have any idea how difficult it
             is to find a quality man in Los Angeles?

She slams Vivian into the wall.      Grabs her again, hands
around her head.

                             VIVIAN WU
             To be honest?

Vivian suddenly leans forward and KISSES her, right on
the lips.

                             VIVIAN WU (CONT'D)
             I don't care.

Natalie is surprised for a moment, which gives Vivian the
chance to swing at her. She misses.

                           NATALIE
             I can handle villainy. I can even
             handle super-villainy.
                    (Vivian swings and
                     misses again)
             But what you did is just wrong.

                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                              88.

CONTINUED:

She head-butts Vivian, knocking her out cold.   She throws
the limp body on the floor.

A beat, then Natalie looks up to see Bosley.

                           NATALIE (CONT'D)
                    (suddenly chipper)
             Hi, Bos!

He waves.

EXT. VERANDAH - DAY

From below, we hear SECURITY WHISTLES. The compound has been
breached. Dylan looks at the six armed guards surrounding her.

                           DYLAN
             Here we go.

And now she does exactly what she told the Thin Man she'd do:

She pitches forward, ducking her head so the chair's back
crashes into the railing, tearing it off. She stands.

                           DYLAN (CONT'D)
             Okay, that part worked.

The Guards FIRE -- but Dylan has already launched herself
from the railing into that backflip, which lands her on
the head of --

Fat Boy, flattening him bad, and smashing the rest of the
chair into kindling. She grabs the wooden seat and whips
it up, catching bullets from Guard #3 before flinging it
like a Frisbee at Guard #2, nailing him right on the chin.

Quickly she stands again, between Guards #3 and 4.

                           DYLAN (CONT'D)
             Now, guys, I warned you. This is
             where you shoot each other.

The two men scoff, disbelieving. Then Dylan does a head
fake, both Guards panic, and fire, but Dylan drops, leaving
each man a clear shot at the other. Both gape. Both fall.

Just Guards #5 and 6 left.    Dylan's chair arms are still
taped to her forearms.

                           DYLAN (CONT'D)
             Okay, here's where we improvise.

In a whirl, she overhead-chops Guard #5. Drives her
right arm into his shoulder while swinging her left arm
into the back of the Guard #6's head.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   89.

CONTINUED:

A few more blows, then both men fall.

Now Dylan drops into a second chair, half-exhausted,
half-amused with herself. Has one brief beat to take it
all in, then --

Bosley steps onto the veranda, sees Dylan sitting in the
chair.

FROM HIS POINT OF VIEW: It looks like Dylan -- whose
arms are still strapped to the arms of the first chair --
is taped to the chair she now sits in.

                           BOSLEY
             Oh my God, let me help you.

Bosley hurries over, "freeing her." Amused, Dylan lets
him. Natalie steps out from inside, pausing to KICK one
guard who was starting to revive.

                                                   CUT TO:

EXT. KNOX COMPOUND - DAY

Knox, carrying the briefcase bomb, gets into his waiting
helicopter, followed closely by the Thin Man.

                           KNOX
             Let's GO!

The helicopter quick ascends, just as...

                           DYLAN (O.S.)
             Damn!

THE THREE ANGELS

run into the courtyard.

                           NATALIE
             Don't worry, we'll get him.

                           DYLAN
             You don't understand. He's got a
             pound of C-5 in that briefcase.

                           ALEX
             The question is, where's he headed?

                           BOSLEY (O.S.)
             Miami.

The three angels turn to see Bosley, huffing and puffing
his way into the courtyard.

                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 90.

CONTINUED:
                           BOSLEY (CONT'D)
             The man Knox is trying to kill has two
             general admission tickets to the Duke-
             Maryland game at Miami Arena. He's going
             to blow up the arena and kill his target.

                           DYLAN
             Not that I don't believe you, but how
             exactly do you know all this?

                           BOSLEY
             Because Angels, I was the one who
             purchased those tickets.

                           NATALIE
             But Bosley, you HATE sports, why
             would you...
                    (suddenly getting it)
             You didn't buy them for yourself.

                           ALEX
             You bought them for...

Bosley lowers his head.    Suddenly all the angels understand.

                           ANGELS
             CHARLIE!

They race out the courtyard, in hot pursuit.

                                                 CUT TO:

INT. MIAMI - DAY

Racing across the water, we find thong-clad BEACH BABES
moving to a Latin beat. Art Deco buildings flank sun-kissed
streets. The people are sexy, the daiquiris strong, and every
night's a fiesta -- Welcome to MIAMI.

Running down the street, towards Miami Arena, the three
angels pass THREE OTHER WOMEN rollerblading by: JILL
MONROE, SABRINA DUNCAN and KELLY GARRETT.

Nothing is said, but a cool moment just happened.

                                                 CUT TO:

INT. LONG, LONG, HALLWAY -- LATER

The three Angels are running down a very long hallway.
Their voices are the only sound that echoes off these
walls, although there is a faint humming that grows louder
as they approach two, metal fire doors.

                           DYLAN
             What do you think he looks like?
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                   91.

CONTINUED:
                           ALEX
             Sixty, tall, well-built.

                           NATALIE
             I always saw him as younger.

                            DYLAN
             Definitely.   With black hair.

                           NATALIE
             No, silver hair. And tan.

                           ALEX
             He's not George Hamilton.

                           NATALIE
             He's outside a lot.

                           DYLAN
             We'll know him when we see him,
             that's for sure.

                              ALEX
             IF we see him.

                           NATALIE
             How hard can it be to spot Charlie?

They slam into the doors, and we...
                                                   CUT TO:

INT. MIAMI ARENA - NIGHT

We reverse angle to reveal the inside of Miami Arena. The first
thing that hits us is the WALL OF SOUND, the noise made
by twenty thousand people in a basketball induced frenzy.

The next thing that hits us is the sheer magnitude of the
job facing the Angels. Hard to spot? The crowd is one,
enormous, teeming mass of brightly colored humanity.

                              DYLAN
             Aw, shit.

The game is in progress, Duke vs. North Carolina, and it's a
barn burner. A one point game with six minutes to go. BALL
PLAYER pulls up and swishes a three pointer, Duke by two.
The crowd goes apeshit.

BY THE MEZZANINE

The Angels huddle, yelling over the deafening noise of the
crowd...

                           DYLAN (CONT'D)
             We have to split up!
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               92.

CONTINUED:

                           ALEX
             I'll take the luxury boxes.

                           DYLAN
             I'll take the mezzanine.

                           NATALIE
             I got the floor.

They split up. Dylan leads the charge down the loge section,
blowing past the SECURITY WOMAN, who yells after her.

INT. ARENA FLOOR - NIGHT

BEHIND THE RIM, COLLEGE PLAYER #2 pulls down a brick, slams
home the rebound. The crowd ROARS.

INT. LUXURY BOXES --

JASON GIBBONS, famous movie star and North Carolina alumnus,
pumps his fists in the air. His luxury box is loaded with
fellow Tar Heels and nameless studio executives. He
repeatedly high fives a Hollywood type in sunglasses and Armani.

                               JASON
             Yes, yes!

When suddenly, the door to the luxury box is flung open.

                           ALEX
                    (yelling)
             Charlie!? Charles Townsend!

Jason whips around and locks eyes with Alex.

                               JASON
             Alex?

                               ALEX
             Jason?
                      (beat)
             Shit.

Realizing she has no time to explain, and that Charlie isn't
in here, she turns and leaves.

                               JASON
             ALEX!    Hey...

While everyone watches, confused, Jason pushes his way
through the box and follows Alex into the hall.

                                               CUT TO:

CHARLIE'S ANGELS - 8/18/99                               93.

INT. ARENA -- MEZZANINE

Dylan races past rows of seats, pissing off plenty of fans
in the process.

                        DYLAN
                 (looking everywhere)
          Charlie! Charlie!

FLASHES FIRE

in the stands.

STATISTICIANS

scribble at their monitors. Natalie runs behind them,
scanning the crowd. WHIP PANS, from ONE MAN to ANOTHER to
ANOTHER. Stopping on a likely candidate...

                              NATALIE
          Charlie?

                              LIKELY CANDIDATE
          Who?

THE SCOREBOARD CLOCK

counts down.    :60.   :59.    :58.

INT. LUXURY BOXES - NIGHT

Alex bursts in.   It's a crowd of fifteen cocktail-drinking
BUSINESS MEN.

                        ALEX
          Charles Townsend? Anybody, Charles
          Townsend?

She ducks back into the hallway.

INT. HALLWAY -- CONTINUOUS

Alex walks out into the hallway, frustrated.     Then,
miraculously, she spots him...

KNOX.

He walks out of one of the luxury boxes, holding a large,
metal briefcase. He heads for the elevator.

ALEX

immediately goes to intercept him, but...

                              THIN MAN (O.S.)
          Don't move.

                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 94.

CONTINUED:

It's the Thin Man, standing behind her, with a gun in
her back.

                           THIN MAN (CONT'D)
             You move, you say anything, I
             perforate you. Got it?

Knox glances back at the Thin Man, nods to him.      Then he
gets in the elevator.

The Thin Man starts edging Alex towards some emergency exit
doors, gun still in her back. Alex is trying to think of an
escape, quickly. She knows that the second he gets her out
of this public space, he's gonna shoot her. The door gets
closer and closer...

                            JASON (O.S.)
             Alex?!   Jesus, what is going on?

The Thin Man and Alex turn around to face Jason, who is
sweaty and exasperated from chasing her.

                           ALEX
             Jason, hi, I...

The Thin Man digs the gun deeper into her back.

                           ALEX (CONT'D)
             Can I talk to you later?

                           JASON
             No you can talk to me NOW. I want
             to know what the hell is going on.
             First, you disappear with no
             explanation, not even a goodbye.

                           ALEX
             I'm sorry, I...

                           JASON
             Now, I see you here, but you're
             with some other guy.

                           THIN MAN
             Hey, movie star, do yourself a
             favor and get lost.

Jason double takes.     He's not used to someone talking to
him like that.

                            JASON
             Lemme guess.   You must be Charlie?

                           ALEX
             Jason, please...
                                                   (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                               95.

CONTINUED:
                           JASON
             No, no I'm sick of this shit. I'm
             sick of this asshole telling you
             what you can and can't do.

And then, with no warning, he hauls off and punches the
Thin Man.

Now, Jason's just an actor, not an ass-kicking super
detective, so his punch isn't all that great. In fact, it
leaves Jason shaking his hand in pain.

The Thin Man, a trickle of blood running from his lip, smiles.

                           THIN MAN
             That was stupid.

First, he pops Jason right in the jaw. Jason stumbles
backward, dazed. Then he reaches for his gun, in the
process, loosening his grip on Alex...

                           ALEX
             Jason, get down!

Alex spins out of the Thin Man's grasp and does a full
roundhouse kick, knocking the gun out of the Thin Man's
hands. The Thin Man immediately responds, throwing two
quick punches, which Alex expertly blocks and then follows
with a hitch-kick to the chin.

Jason, dazed and confused, thinks he must be hallucinating.

                           JASON
             What the hell is going on?

What's going on is a world class ass-kicking, courtesy of his
girlfriend. While the action star watches in amazement, Alex
unloads an arsenal of bad ass kung fu moves that would make
Jet Li green with envy.

The Thin Man doesn't stand a chance. A flying side kick
sends him stumbling backwards into the stairwell. We
follow the fight...

INT. STAIRWELL -- CONTINUOUS

... to the first landing. The Thin Man, battered and bruised,
reaches down to his ankle holster to get his spare gun, but
Alex is too fast for him. She stamps on his hand, then
drops a knee to his throat.

                           ALEX
             Right now, just by leaning forward, I
             could crush your windpipe. You'd die
             a slow and painful death. You don't
             want that, do you?
                                                 (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                96.

CONTINUED:

The Thin Man shakes his head "no."

                           ALEX (CONT'D)
             Where is the bomb, when's it going off?

She presses harder.

INT. HALLWAY

Jason slams out into the stairwell, looking for Alex. He
finds her on her walkie talkie, the Thin Man handcuffed
to the staircase.

                            ALEX
             Hi, Jason.   Gimme one second?

Jason nods, sure.

We go to another triptych, all three Angels on their cell
phones in different parts of arena.

                           ALEX (CONT'D)
             Angels! Knox planted the bomb in the
             basement, and it's timed to go off
             when the game clock hits zero!

                           NATALIE (O.S.)
             Roger that, Alex, I'll stop the clock!

                           DYLAN (O.S.)
             I'll look for the bomb!

Alex turns back to Jason. He's clearly having a difficult
time processing everything he's just seen.

                           ALEX
             I lied to you Jason.    I'm not a
             secretary.

                           JASON
             Yeah, I can see that.

                           ALEX
                    (referring to the
                     Thin Man)
             And that wasn't Charlie.

                            JASON
             Right.

                           ALEX
             I'm actually here to stop a madman
             from killing everyone in this
             building. Would it be okay if we
             talked later?
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 97.

CONTINUED:

                           JASON
             Go save the world, honey.
                    (beat)
             I'll be waiting for you.

Alex smiles.    Runs off.

INT. ARENA

Natalie stares up at the clock... :30.       :29.

The WHISTLE BLOWS.

                            REFEREE
             Time out!

Whew, that was close. But it'll start up any second.       She
has to keep it stopped. But how? She glances to the
sidelines and gets an idea.

ON THE COURT --

MUSIC starts from overhead, the respective teams' cheerleaders
coming out for one last routine.

As they kick into gear, Natalie comes out with them, dressed
as a Duke cheerleader. She follows along with the dancers, a
bit timid at first, then more confident as she gets into it.

INT. ARENA BASEMENT -- BENEATH THE COURT

Dylan races through the basement, looking for the briefcase.
Then she spots it, hooked into some wires that snake up
into ceiling above.

Dylan approaches it cautiously.       She slowly opens the top...

                           DYLAN
                    (to herself)
             Alright, Dylan, all we have to do is
             figure out which wire to cut.

REVEAL THE BOMB --

there are about fifty different wires, in every color in
the Crayola box.

                            DYLAN (CONT'D)
             Oh, shit.

INT. COURTSIDE

Alex, still searching for Charlie, notices something strange.

                           ALEX
             You're kidding me.

CHARLIE'S ANGELS - 8/18/99                                98.

NATALIE

is fully transformed on the court, from wallflower to full-
out cheerleader. It's not that she's as good as the other
cheerleaders. She's better.

ON THE COURT

The SONG ends. The Cheerleaders vacate the court, but Natalie
keeps dancing her heart out. She has 18,000 fans watching
her, and she's totally in the moment. But there's another
agenda as well...

                        COURTSIDE RADIO ANNOUNCER
          The time out is over, but one
          cheerleader doesn't seem to notice.
          Officials can't start the clock again
          while she's on the court.

                                                CUT TO:

INT. MIAMI ARENA -- CONTINUOUS

Dylan has picked two wires.

                        DYLAN
          Chartreuse and magenta.   This has
          gotta be it.

She prepares to snip them with her wire cutters, when...

                        KNOX (O.S.)
          I wouldn't do that, if I were you.

She spins to see Knox, standing behind her.

                        KNOX (CONT'D)
          See, if you snip ANY of those wires,
          the bomb WILL blow up.

                        DYLAN
          It's gonna blow anyway, once the
          clock gets to zero.

                        KNOX
          Who told you that, my idiotic
          henchman? Do you think I tell him
          ANYTHING that's confidential?

He holds up a small TRIGGERING DEVICE. It's the same one
we saw Pascal try to sell in the opening scene.

                        KNOX (CONT'D)
          THIS is what triggers that bomb.     So
          if you'll kindly step away, I'll
          refrain from killing both of us.

                                                (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                             99.

CONTINUED:
Realizing she has no choice, Dylan stands up and backs away.

                        KNOX (CONT'D)
          In different circumstances, Dylan, I
          think you and I could have worked out.
          We have a lot in common.

                        DYLAN
          Yeah, I fall for assholes, and you
          ARE one.

Knox laughs.

                        KNOX
          Good one.
                 (beat, as he backs up)
          Well, I must be going. If you like
          your body parts attached to your
          torso, I suggest you do the same.

Knox turns to go, but the other Angels are blocking his way.

                        ALEX
          Give it up, Knox. You're surrounded.

                        NATALIE
          Give us the detonator.

                        KNOX
          NO!

Stumbling backwards, Knox holds it up high.

                        KNOX (CONT'D)
          I'll blow this building sky high, I swear!

                        CHARLIE (O.S.)
          Don't do it, Eric. It's me you want,
          not all these innocent people.

Everyone turns, as one, to a figure emerging from the shadows.

                        KNOX
          Charlie?

That's right, it's Charlie. Finally, after all these years,
we get a look at him, and boy is it... disappointing.

He's not what we expected. Short, portly, dressed in a
"We're #1" t-shirt; the Angels are absolutely floored by
Charlie's appearance.

                        ANGELS
          Charlie?

Charlie ignores their stares and addresses Knox directly.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                 100.

CONTINUED:

                           CHARLIE
             Your father was a double agent, Eric.
             Yes, I revealed him, but he was killed
             by his own people before we could
             throw him in jail.
                    (beat)
             He was my friend.

                           KNOX
             It's still your fault, you arrogant
             prick! You still killed my father!

                           CHARLIE
             Maybe. Maybe I did. But why should
             YOU kill all these people? If you
             hate me so much, just shoot ME.
             Just shoot me, Eric.

Charlie spreads his arms, leaving Knox a plenty wide target.

It's a horribly tense moment.       The Angels are frozen, watching
Knox decide Charlie's fate.

Knox is sweating, debating his choices. Can he really do
this? Charlie's not the glamorous, smug asshole he imagined.
He starts lowering his gun.

                           KNOX
             Okay.  You're right.
                    (quickly)
             I'll just kill you.

BLAM!

It all happens in the blink of an eye. Knox fires, hitting
Charlie in the chest. Natalie leaps out and tackles Knox.
Alex dives and grabs the detonator, before it has a chance
to go off.

Dylan runs to Charlie's side.

                            DYLAN
             Charlie, no.   NO!

She hold shim in her arms as the other Angels gather round
their fallen leader. He gasps for air.

                           DYLAN (CONT'D)
             He's trying to say something.

Then Dylan notices something weird. He's not gasping for
air, there's something stuck in his mouth.

With a great, hacking cough, he spits it out. It's a voice
chip, like the one Dylan used in the opening scene.
                                              (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                101.

CONTINUED:
                           VOICE
             Ucch, that tasted terrible!

The voice isn't Charlie's. Dylan reaches down and rips
off Charlie's mask, revealing...

                            NATALIE
             Bosley!   Are you okay?

                            BOSLEY
             Think so.

He pulls back the padding from the suit, revealing a small
wound where the bullet grazed his side.

                           BOSLEY (CONT'D)
             Hurts, but it looks like it'll heel.

Dylan laughs, Alex ruffles his hair.

                           DYLAN
             Hey, wait a second. If Bosley's
             here... then where's Charlie?

The Angels all look at each other.      No one knows.

EXT. CENTER PASSAGE - DAY

In gorgeous SLOW MOTION, the three angels walk side-by-side
with a calm assurance, fireballs exploding behind them.

They won.

As MUSIC rises, the ANGELS TRIPTYCH descends, then peels
away to reveal...

EXT. GORGEOUS BEACH - DAY

The angels kick back on the white sands, tropical drinks in-
hand. Bosley is there as well, with a grass hat and zinc
on his sniffer.

Charlie is on the cellular speakerphone.

                           CHARLIE'S VOICE
             Great work, angels. You'll be happy
             to know you received another
             presidential commendation.

The Angels, and Bosley, clink glasses.

                           CHARLIE'S VOICE (CONT'D)
             Enjoy your vacation, angels.

                           THE ANGELS
             Thank you Charlie.
                                                  (CONTINUED)

CHARLIE'S ANGELS - 8/18/99                                102.

CONTINUED:

They toast the speakerphone.

                           CHARLIE'S VOICE
             Alex, Natalie -- I know you've been
             putting in some long hours on this case,
             so I thought you might enjoy a chance to
             catch up with some old friends.

NATALIE AND ALEX TURN TO SEE

PETER AND JASON

walking across the beach towards them. Each is carrying a
drink of his own. They wave. Damn those men look good.

Alex and Natalie share a smile.

                           DYLAN
             Any chance you'll be joining us,
             Charlie?

                                                CUT TO:

A SUNNY DECK

We're in Charlie's point-of-view. We can see part of his
reflection in the window -- not enough to see his face,
but we get some sense of the man.

He turns away, begins walking.    Steps down onto the sand.

                           CHARLIE
                    (to cell phone)
             I'd love to, Angels. But I have some
             precious treasures to watch over.

With that, he hangs up. We stay in his P.O.V., walking
across the beach. And it's not just any beach.

TO THE LEFT, WE NOTICE

PETE AND JASON

approaching.    We're on the same beach.

Looking right, we see the backs of the Angels and Bosley.
They have no idea that Charlie is walking right behind them.

A beat, then Dylan looks back.

She looks directly as us -- at Charlie -- tracking as we
move past. Does she somehow recognize it's Charlie?
From her reaction, it's not clear.

A beat, then we...

CHARLIE'S ANGELS - 8/18/99                            103.

REVERSE ANGLE/NOT P.O.V.

Dylan looks back forward again. Did she just see Charlie?
Her smile tells us she thinks she did.

She raises a toast.

                           DYLAN
          To Charlie.

                           THE ANGELS AND BOSLEY
          To Charlie.

They knock glasses.

Right at the moment we should probably fade out, Bosley
spills his icy drink in his lap. His eyes go wide.

The Angels just have to laugh.

We FREEZE FRAME, then...

CUT TO BLACK.

                               THE END


Charlie's Angels



Writers :   Ed Solomon  John August  Zak Penn
Genres :   Action  Comedy


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