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

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

More photos of Diana before and after the attack, a photo of Prime Minister Benjamin Natanyahu visiting one Diana's injured friends, photos of the carnage that appeared in Newsweek, USA Today, and other publications, can be seen at InnocentTarget.com

In spite of the odds against her, Diana survived.

The following screenplay, based on true events and characters, is Diana Campuzano's horrific story.

EXT. ISRAEL - SEPTEMBER 4, 1997, 3:09 P.M. OUTDOOR CAFE IN BEN YEHUDA STREET SHOPPING PLAZA It is a warm, bright, sunny day. DIANA CAMPUZANO, 30, and a couple of friends, SHERRI and GREGG, enjoy coffee, cake and light banter in this crowded cafe. (Diana's face is not shown throughout this scene, for reasons that will become clear later.) Among the throngs of people moving in and out, 3 MEN IN OVERCOATS, a little overdressed for this weather, walk in, nervously shifting their eyes from side to side. One of the men is poorly disguised as a woman. Diana's eyes are diverted to this guy. DIANA That's odd. GREGG What? DIANA A guy dressed in drag ... in Israel? Somewhat apprehensive, Diana turns her attention to 2 ISRAELI SOLDIERS with machine guns just outside the cafe. Suddenly, one of the 3 men slips his hand under his overcoat. DIANA (jumps up and shouts) No! The soldiers swing around instantly, raising their guns. But not quickly enough. The three men activate detonators under their overcoats -- creating three HUGH EXPLOSIONS, in rapid succession, which rip through the cafe. The blast picks up Gregg and hurls him 8 feet away. Tables, chairs and many patrons go flying. When the smoke clears, we see Gregg with a broken leg, Sherri burnt over 30% of her body, and Diana bleeding profusely from the face. There are also dead bodies and body parts strewn about. CUT TO SEVERAL MINUTES LATER Ambulances, cops, military personnel and the news media are at the scene.

As Diana, in critical condition, is carried from the rubble into an ambulance, she is photographed by just about every photographer at the scene. But her face cannot be seen through all the blood. A PARKED CAR CLOSE TO THE CARNAGE Inside are ABU ATEF, the leader of a terrorist cell, and one of his cohorts. ABU (heavy middle eastern accent) (looking with glee at the dead bodies) Excellent. They drive off. CUT TO A CLOSE SHOT of headlines of an American newspaper reading, "Terrorist Attack in Israel Kills 7, Wounds 192, 8 Critically" EXT. CHURCH - ROCHESTER, NEW YORK - DAY - 13 YEARS AGO The pastor greets congregants as they leave Sunday services. Diana, 17 HERE, appears with her parents, RAMIRO and MABEL, and her brother, JORGE, about 2 years her junior. MABEL Excellent sermon, pastor. PASTOR Thank you, Mabel. Mabel nudges the kids. DIANA Yes, it was really nice. PASTOR Oh, thank you, Diana. INT. CAR - THE CAMPUZANOS DRIVING HOME - COUNTRY ROAD - DAY MABEL You didn't seem very attentive, Diana. DIANA Ma, I have finals this week. MABEL Well, I hope you at least do well in that. You're going to college after the summer, you know. DIANA I know, ma. JORGE She was thinking of Jason. (laughs) DIANA Shut up, Jorge. MABEL (grimaces) Isn't that the Jewish kid? DIANA I was not thinking of Jason. A couple of minutes later, they pass a small synagogue. Diana's eyes are fixated on the large Star of David on the front door. INT. CLASSROOM - PURDUE UNIVERSITY - DAY - 4 YEASR LATER Diana sits next to several friends, TIFFANY (her roommate), NORM and BRANDON. PROFESSOR (recites from memory, as if reading scripture) In the beginning you laid the foundations of the earth, and the heavens are the work of your hands. They will perish, but you remain; they will all wear out like a garment. Like clothing you will change them and they will be discarded. But you remain the same, and your years will never end. The professor calls on a student who is raising his hand. STUDENT Luke. PROFESSOR No ... Psalm 102. DIANA How do we authenticate one or the other? PROFESSOR We don't. In comparative analysis, we leave authentication to others. Our objective is to show commonality and equality of cultures and religions. DIANA But aren't some religions opposed to one another in principle? PROFESSOR Yes, they are, Diana. But why should that matter? DIANA Well, if one is true, the other one cannot possible be true. How can true and false possibly be equal? PROFESSOR Now that's just one possibility ... (looks around the classroom for an answer) ... any other possibilities? The professor calls on one of several students raising their hands. STUDENT (smiling) False and false. PROFESSOR Excellent, Walter. INT. RUN DOWN BUILDING - GAZA STRIP, ISRAEL - DAY CLOSE SHOT of a map of Israel on the wall. ABU (V.O.) Our mission will be over when this entire region will be known as Palestine ... CAMERA PULLS BACK revealing ... Abu and about a half dozen middle eastern men, all between 18 and 28, are in this decrepit looking room. All pack pistols, some have rifles. ABU ... martyrdom cannot be measured with money. It can be measured only with its power to persuade ... KNOCK ON DOOR All jump up and surround the door, guns drawn. Abu peeks through a crack in the door. ABU It's them. Abu opens the door. In walk 2 of their comrades, pulling 2 crates. They open one crate; it's full of scuba diving gear. EXT. PURDUE UNIVERSITY - DAY Diana comes out of the school's main hall with her friends, Tiffany, Norm and Brandon. NORM Lighten up, Diana, it's just a stupid course. DIANA Norm, if everyone took things as lightly as you, we'd still be galloping cross country. NORM (laughs cockily) Yea, but we wouldn't be seriously disturbed about it. TIFFANY Norm, you're disturbed. (to Diana) Di, you coming tonight? DIANA Tonight? TIFFANY Brook's party. INT. DIANA AND TIFFANY'S DORM ROOM - NIGHT Tiffany is all dressed up and ready to party, Diana is still getting dressed. The TV BLARES in the background. DIANA Tif, why don't you go ahead. I'll catch up. TIFFANY Oh no, Di, I wouldn't go without you. DIANA No, really, it's okay. I'm not ready yet. TIFFANY You sure? DIANA I'm sure. TIFFANY (as she leaves) Okay, see you there. A news report comes on about a terrorist attack in Israel. Diana's eyes are glued to the TV. PHONE RINGS DIANA Hello. (listens a second) (affectionately) Hi. (listens) Just getting ready for the party. (comically) Well, if you weren't so damn smart and hadn't graduated a year before me, we'd be going to the party together instead of being miles apart. (listens) Miss you too, Stuart. Hangs up. EXT. COLLEGE CAMPUS - NIGHT All dressed up, Diana walks toward what seems like a loud party in one of the dorms. She is about to enter, when she turns around and heads for her car. CUT TO DIANA DRIVING DOWN A DARK COUNTRY ROAD She passes a small rural synagogue that's brightly lit. Through the windows, she can see it's crowded. She makes a u-turn and heads back toward the synagogue. This time she drives into the parking lot. INT. SYNAGOGUE Diana appears at the door, obviously nervous about being there. The congregation is standing as THE CANTOR recites some prayers. Diana takes a prayer book and moves into a pew. The entire congregation sits down. A woman next to Diana keeps looking at her then glancing at her prayer book. Diana glances back several times, but doesn't know what to make of it. Finally, the woman takes the prayer book from Diana, turns it right side up, then hands it back. The woman smiles, Diana smiles, the CANTOR GETS LOUDER IN THE BACKGROUND. CUT TO AFTER SERVICES Diana and the Rabbi, the only 2 left, are involved in conversation. RABBI ... Diana, my advice is to you is to follow in the faith of your parents. If they fear God, if they love their fellow man, that's really all you need. DIANA How about the deeper dimensions? RABBI Why burden yourself? With greater aspirations, come greater trials and tribulations? DIANA So what you're saying is that it's too challenging for me? RABBI What I'm saying is that sometimes tests are commensurate with a person's will and determination. You do look to me like a very strong-willed person. But why test the waters? DIANA Rabbi, I've never run from a test. RABBI (sighs, as if not wanting to say this) That's what worries me, Diana. You seem TOO ready for the challenge. INT. DIANA'S DORM ROOM - A SHORT WHILE LATER Diana walks in and finds Tiffany back from the party, lying on her bed, face down, crying. DIANA Tif, what's wrong? TIFFANY Brad left with Camrin. DIANA (with empathy) Oh, Tif. Tif, listen, there are so many guys this semester, you'll forget about him before you know it. (strokes her hair to sooth her) Remember Brian? You were a wreck. Two weeks later, you didn't know he was alive. TIFFANY (sobbing subsides somewhat) Maybe you're right. DIANA I know I'm right. TIFFANY (stops crying) (comically) If Brad's still alive in two weeks, I'll kill him. (forces a smile) What happened to you? DIANA Oh ... I went to another party. You know, a last minute thing. TIFFANY Oh. Who else made a party? DIANA (thinks for a moment) Uh ... Rabbi Tenanbaum. TIFFANY Who? EXT. BIG CAMPUS LAWN, GRADUATION DAY - DAY A stage is being prepared for graduation ceremonies, and hundreds of chairs are being lined up. EXT. OPEN SEA - SOMEWHERE IN THE MIDDLE EAST - NIGHT With 2 Israeli gunboats in the distant background, a relatively small boat, with about a dozen men on board, shuts its engine and comes to a halt. CLOSE SHOT of the small boat reveals Abu and his men, and a few new faces. Abu and his men are dressed in scuba gear. Next to them are SEVERAL OPEN CRATES loaded with explosives. A NEW FACE (pointing to a bulge on one of the crate's cover) Flotation devices. Suddenly, a siren goes off on one of the Israeli gunboats. Abu's gang hits the deck, with guns drawn. They lie motionlessly, as they observe some activity at a distance. CLOSE SHOT of the Israeli gunboats The Israelis go after some teenagers in a small speedboat who have crossed a security line. The teenagers stop. The Israelis board their boat. EXT. GRADUATION DAY CEREMONIES - PURDUE UNIVERSITY - DAY Diana and her friends are decked out in the usual graduation garb; robe, hats, etc. As the graduates give their commencement addresses from the stage, an audience of mostly parents sit and listen. TIFFANY (finishing her address) ... so I'd like to thank my professors, my mentors, for making a brighter future possible. Thank you. As she descends from the stage to applause, Diana is called up. CLOSE SHOT of Diana's parents, her brother, and her boyfriend, STUART, in the audience. DIANA I'd like to begin by thanking my parents for giving me the opportunity to attend this great institution. I know I've grown scholastically. Hopefully, I've also grown intellectually. I realize it's been a sacrifice for them ... (SHOT OF HER PARENTS' emotional look) ... I will forever feel indebted to them ... EXT. BACK TO THE OPEN SEA - NIGHT The Israelis are completing their check of the teenagers' boat. ABU'S BOAT By now Abu and his men have taken out some big guns and have them pointed directly at the Israelis. THE ISRAELIS They return to their gunboats, wave the teenagers on to a secure zone, then retreat into the background. ABU'S BOAT Abu and his men breath a sigh of relief, then close each crate and lower them into the water. Each crate has a rope attached to it. Abu and his men jump into the water. CUT TO underwater Abu's gang pulls the crates underwater; the crates are submerged, with their tops floating just beneath the surface. EXT. BACK TO THE GRADUATION - DAY Diana finishes her speech. DIANA ... so it is with a heavy heart that I leave my alma mater. I know that no matter how far I go in life, I will always remember my experiences here as the foundation of my adulthood. Thank you. The audience applauds. As Diana leaves the stage, she is greeted by her family and boyfriend. STUART (impressed) God, where'd you learn to write a speech like that? DIANA I just graduated college, Stuart. Hello ... INT. DIANA'S ROOM - THE CAMPUZANO HOME - ROCHESTER, NY - NIGHT INTERCUT PHONE CONVERSATION with Rabbi Tenanbaum (whom Diana met while in college). Diana holds a note in her hand with the following info scribbled on it: Rabbi David Mallach Kabalist 972-2-555-7182 212-555-8716 RABBI He comes to New York twice a year. KNOCK ON DOOR DIANA Excuse me Rabbi. (louder, toward the door) Yes. RAMIRO (Diana's father) (V.O.) Stuart's here. DIANA I'll be right there. (to Rabbi) Rabbi I have to thank you for everything. RABBI No problem. All the best. EXT. A BOWLING ALLEY Stuart and Diana pull up in his car and get out. Tiffany and Brandon are already waiting. BRANDON What took you guys so long? STUART (comically) Don't look at me. Prima donna here couldn't find her bowling gown. DIANA Stuart, sit on it. Like you're always on time. INT. BOWLING LANE A SHORT MONTAGE of the four bowling. EXT. ISRAELI KIBBUTZ - MORNING INT. ONE OF THE HOUSES EZRA and his wife, SHOSHANA, both about 25, are in the kitchen with their 5-year-old daughter having breakfast. (All speak with Israeli accents.) SHOSHANA (looking into the fridge) Ezra, we need milk. EZRA I thought I got it last night. SHOSHANA No, you dreamt you got it last night. EZRA Okay. (heads for the door) Anything else. SHOSHANA No, just milk. EXT. Wearing a small-caliber gun and holster, Ezra comes out and steps into his car. The CAMERA PANS with his car for a second then stops at a figure in the bushes -- it's Abu, holding a 2-way radio. ABU (quietly into radio) Okay. Suddenly, several houses in the kibbutz blow up. Ezra frantically makes a u-turn and heads back to his house, which is engulfed in flames. He is met with gunfire as he tries to run toward his house. Jumping behind his car for cover, he returns the fire. Abu eventually stops firing and takes off. With his house almost completely burned to the ground, and obviously no survivors possible, Ezra sinks to the ground and bursts into tears. INT. BACK AT THE BOWLING ALLEY - STUART'S PARKED CAR - NIGHT Diana and Stuart are in the front seat making out, Tiffany and Brandon are in the back seat doing the same. BRANDON Hey, guys, Tiffany's gonna cook us up some love potions. She got that biochemist job. DIANA Hey, Tif, you didn't tell me. TIFFANY I just found out today. (kisses Brandon) And Brandon got accepted as a civil engineer. DIANA Hey, that's great. TIFFANY I don't know how. (laughing) He doesn't look too civil to me. Brandon "tackles" her as they laugh and kiss. STUART My pop's giving me a couple of weeks off. BRANDON Who's gonna represent those bad guys while you're on vacation? STUART Hey, they're all good till proven bad, remember that. (to Diana) How about you? DIANA Oh, I don't know ... STUART What do you mean, you don't know? We've been looking forward to this. You're out of school, I'm off ... DIANA ... I know, but ... STUART ... but what? DIANA Stuart ... I'm going to New York. STUART (looks dumbfounded) New York? INT. LATER THAT EVENING - DIANA'S HOUSE Mabel, Diana's mother, comes out in her robe as Diana and Stuart enter the house. Diana and Stuart kiss, say good night, and Diana hurries to her room. Mabel walks an unhappy looking Stuart to the door. MABEL Stuart, anything wrong? STUART Mrs. Campuzano ... did Diana meet someone from New York. MABEL (startled) What? (then remembers) Oh ... that. No, she didn't mean anyone form New York. (pause) She's going through some kind of phase. STUART Phase? MABEL Yes. She's searching. STUART For what? MABEL Oh, she's a little confused about ... well, religion, God .. you know, that kind of thing. STUART Well what's in New York? EXT. NEW YORK SKYLINE - DAY EXT. JFK AIRPORT A small shuttle-plane lands. EXT. RAMP IN FRONT OF TERMINAL BUILDING Diana steps into a cab. EXT. WILLIAMSBURG - AN ORTHODOX JEWISH NEIGHBORHOOD - DAY After driving through several streets full of Hasidim, Diana's cab stops in front of a three-story brownstone. She double checks the address from a peace of paper, pays the cabbie, then steps out. INT. LIVING ROOM - SECOND FLOOR OF BROWNSTONE This living room serves as a waiting area for Rabbi David Mallach when he's seeing people in New York. Seated, are about a dozen people of all walks of life and of various faiths. Diana enters and takes a seat. In a few seconds, Ezra, the Israeli who lost his wife and child in the terrorist attack earlier, enters, and sits down in the only available seat -- right next to Diana. He politely greets her; she reciprocates. Rabbi Mallach's "office" door opens, an elderly woman leaves, the "next" person, in this case, a young man in his thirties, walks in, and the door closes. INT. RABBI MALLACH'S "OFFICE" - A HOME STUDY WITH A DESK AND CHAIRS RABBI DAVID MALLACH, a man in his seventies, with a long white beard and glasses, sits behind the desk. Upon taking a seat facing the Rabbi, the young man's eyes well up with tears. MAN They still haven't found her, Rabbi. (barley able to hold back the tears) We don't know what to do. Rabbi Mallach gets out of his seat, puts a comforting arm on the man's shoulder. RABBI (in comforting tone) Avi ... listen to me ... she's fine. AVI It's been two weeks. RABBI I know. (moves his hand across Avi's back in a consoling manner) Avi ... you hear what I'm telling you? She's alive and well. And they'll find her. CUT TO WAITING ROOM - EZRA AND DIANA EZRA (Israeli accent) After the attack, I found it difficult to stay. (pause) I have some family here. They helped tremendously. (points to the Rabbi's "office") But the moment the Rabbi says I'm ready, I'm on a plane the same day. DIANA You have that kind of trust in him? EZRA Trust? I'd put my life in his hands. (anxiously pages through a book without paying much attention to it) In Israel, I used to come to him with my father when I was a kid. (pause) You have no idea how many people he's helped. CUT TO DIANA IN RABBI MALLACH'S OFFICE Rabbi Mallach is behind the desk, Diana sits facing him. RABBI (in almost comical contrast to the last scene) I can't help you. DIANA Rabbi, I came all the way from Rochester ... RABBI ... my child, I know where you came from. It's where you're coming from that worries me. (removes his glasses and holds it one hand) You want me to prove everything I believe? DIANA Well, if you believe in something ... RABBI Let me ask you something. Have you ever been to Florida? DIANA Sure. DIANA The first time you paid for a ticket, were you absolutely sure there WAS a Florida? DIANA (taken aback) Of course. RABBI You mean, you proved there was a Florida before you put money down for the ticket? DIANA Well, no. RABBI But you were absolutely sure there was a Florida. DIANA Okay, Rabbi, what's the point? RABBI The point is, a few individuals told you there was a Florida and you believed it. (points out the window) Every tree out there tells you there's a God. Every living creature out there tells you there's a God. Every living cell has a blueprint for life, that tells you not only that there's a God, but it speaks of His resourcefulness. And you want to know what I can prove? How can I prove more than God proves every day? (with a comic flare) Look, why don't you spend some time thinking about this. Then, come back and tell me what you're more sure of -- God or Florida. INT. DIANA'S HOME - BREAKFAST TABLE - MORNING Jorge, Diana's brother, says goodby as he rushes off to school. Mabel, Diana's mother, serves breakfast, as Ramiro, Diana's father, reads a newspaper. Diana sips a cup of orange juice. MABEL (a little agitated) So what took a week? DIANA Mom, he was totally booked. I had to be there in the city to get in. MABEL (with skepticism) And now that you got in. DIANA (hesitates for a moment) It's an ongoing study, mom. MABEL No, Diana, this is not a study. School was a study. This is part your ongoing discontentment with the way things are. (places two plates of scrambled eggs on the table) You were always like this. You always needed to push for something that was not for you. DIANA (eats a fork full) Mom ... (another fork full) .. when I finish my study, I'll know if it's for me. Ramiro unfolds his paper, places it on the table, and starts eating. With an upset look, Mabel sits down with a plate of eggs. CAMERA ZOOM INTO THE NEWSPAPER HEADLINES: "5-Year-Girl Found Alive and Well;" underneath is a picture of the five-year-old with her overjoyed parents -- the father is Avi, the man who was at Rabbi Mallach's "office." INT. JEWISH THEOLOGICAL SEMINARY OF AMERICA, N.Y.C. - DAY - 1997 ISAAC WASSERMAN, a man around 30, teaches Judaic studies to a class of fifteen students. ISAAC (glancing at his book from time to time) ... Maimonides employs a similar method in the procedure for accepting converts: If "upon investigation, no ulterior motive is found, the court should say, 'Do you not know that Israel is at present oppressed?' If he answers, 'I know,' he should be accepted." STUDENT Was this Naomi's approach? ISAAC Naomi's approach, in contrast, sets a greater challenge. Naomi tells Ruth, "Don't you know that my lot is far more bitter than yours, for the hand of the Lord has struck out against me?" Behold, I'm like Job; I can't promise you God's help ... INT. HENRI BENDEL, A SWANK WOMEN'S CLOTHING STORE - NYC - DAY Diana is behind the counter wrapping up a sweater for a customer. Her BOSS, a woman 10 years her senior, comes into the SHOT. BOSS Diana, I may need you to come in a little later tomorrow. DIANA No problem. (remembers) Oh, call on my cell, the home phone's out. EXT. A TERRORIST BOOT CAMP - SOMEWHERE IN THE MIDDLE EAST - DAY Abu, 15 years older here, and about two dozen men, all dressed in combat fatigues, holding rifles, packing pistols and decked out with hand grenades, train in an open field. They run through mud, climb monkey bars, etc. Their attention is drawn to a military helicopter approaching from over one of the SURROUNDING MOUNTAINS. They all run for cover, rifles aiming at the chopper. Moments before they are about to open fire, Abu notices a peculiar symbol on the chopper, which he recognizes. ABU Don't shoot. Suddenly, a LIMOUSINE comes out from over a hill. The chopper is now directly overhead, hovering. The limousine stops in front of Abu. A well-dressed diplomat- looking gentleman steps out. He and Abu just stare at each other for several seconds that seem like an eternity; you can't tell if they're about to smile or shoot each other. Finally ... DIPLOMAT (with middle eastern accent) The commission has approved the funds. (Abu's frown turns into a smile) But ... (pause) ... media coverage is very important. (pause) Skirmishes are for school kids. For media attention, we need a "struggle." ABU I understand. The chauffeur steps out and goes back to the trunk. The chopper lands. DIPLOMAT We need high profile locations, more casualties, more collateral damage, you know ... that kind of thing. (pause) You see, without noise, nobody is interested in you're troubles. (with a spark in his eyes) But when you shake people out of their comfortable lives, they want to know why all the noise ... Why are you so angry? ... Who are you angry with? ABU Yes, I think we see eye to eye. The chauffeur opens the trunk; it's full of hundred dollar bills. DIPLOMAT (pointing to the trunk) Eh? (smiles) Noise doesn't come cheap, but if it's loud enough, it's money well spent. (pause) Gentlemen, it was my pleasure. The diplomat and his chauffeur get into the chopper and leave the limo behind. DIPLOMAT (just as the chopper is about to take off, shouts over the noise to Abu) This is just a down payment. ABU (shouts back) You will hear the thunder all the way into the Prince's inner chambers. That is my promise to the Prince. The chopper takes off. CUT TO Abu's men stuffing the money into sacks and carrying them into a fortified shed. CUT TO one of Abu's men putting a big rock on the accelerator of the limo and jumping out of its way. With the limo plowing through the deep sand, we see a SHOT of Abu's men standing alongside the limo's projected path, with guns at the ready. As the limo approaches each man, he jumps dangerously close in front of the vehicle, shooting wildly through the windshield, then frantically jumping out of its way. One man's leg is run over by the vehicle; he falls down in agony. But the exercise continues without anyone batting an eye. Finally, the last man shoots at the limo's gas tank; it explodes into smithereens. Abu walks over to the injured man. ABU Adel, Adel, what am I going to do with you? ADEL (screams in agony) Abu, please, get me to a hospital. ABU When you asked me to join our mission, did I not tell you you are not ready? (almost shouts) Did I not ask if you have thought about this? ADEL Yes, yes, Abu, I should have listened. ABU (shouts furiously) You know what this would cost us? You'd be a prisoner now and you would tell them everything they wanted to know. ADEL (terrified) No, no, Abu, you know I would never do that. I would never betray you, Abu. ABU (steps on Adel's injured leg) Even if they did this to you? ADEL (screams in agony) No ... no ... never. ABU Liar. (takes out his gun and shoots Adel in the head) (the rest of the men look stunned) (shouts at them) What are you looking at? Like scared rats, they all jump back onto the monkey bars and continue their exercise. INT. LIBRARY - JEWISH THEOLOGICAL SEMINARY - NEW YORK CITY - DAY Through a second floor window, we see a minor traffic accident on the street below. The 2 drivers are outside shouting at each other. ISAAC (V.O.) Diana. (slight pause) Diana. CAMERA PULLS BACK revealing ... Diana is standing at the window, looking down at the accident. Behind her is a table full of Judaica books, some in English, some in Hebrew. On the other side of the table, next to the door, stands Isaac, who obviously just walked in, with a briefcase in one hand and a newspaper in the other hand. DIANA (turning around) All that over a minor accident. With a sad face, Isaac throws down the newspaper on the table with the headlines facing up. Diana looks disturbed at the headlines: "24 Dead in 2 Simultaneous Terrorist Attacks In Israel." ISAAC I'm trying for two hours now. I can't get through to my parents. Cell phones ... forget it. (pause) There are no accidents. There are reasons for everything. (pause) The state department just issued a travel alert to the Middle East. (with despair) When will this end? DIANA Isaac ... (rushes over to him) (in comforting tone) ... listen, we don't have to study today. You've been teaching me every day for three years now, we can take one afternoon off. INT. RESTAURANT - LATE AFTERNOON Diana sits alone at a table set for two, impatiently tapping her fingers on the table. ISAAC ON A PUBLIC PHONE IN REAR OF THE RESTAURANT ISAAC I love you too, mom. It was great talking to you and dad. (hangs up) DIANA AT THE TABLE Isaac walks into the SHOT and sits down. ISAAC Thank God, I finally got through. DIANA Have they ever thought of leaving? ISAAC Oh, no. My Parents? Never. Moving to Israel was a dream they've been talking about since my childhood in Forest Hills. The dream was always there, the money wasn't. DIANA (comically) I guess they left you here for me. ISAAC (with a smirk) I keep telling you, there are no accidents. They eat soup. ISAAC So, what's doing with your vacation? DIANA Europe? Moving ahead as planned. (more soup) ISAAC Things haven't exactly been quiet in France, either, you know. DIANA People get mugged in New York. (trying to cajole him into coming along) But it might be a little safer if you came along? ISAAC Right, I'm a real threat to terrorists. DIANA (comically) Ever try your Rabbinical powers on them? ISAAC Unless I can get them to pray with me, I don't think I'd have much of an effect. DIANA Seriously, though ... ISAAC ... Diana, we've gone through this before. You know I can't leave in middle of a semester. (more soup) Anyway, I don't mean to change the subject .. yes I do ... let's change the subject. How's the conversion coming along? DIANA One more visit with Rabbi Mallach ... (dunks some bread in duck sauce) .. and I have approval. He can't stop talking about how you've done a wonderful job. ISAAC It was a special case. DIANA Don't sell your self short, Isaac, it's your M.O. Even with paid students. ISAAC (good-naturedly) Hey, you've been talking to my students? DIANA I used to be a paid student, remember? ISAAC Ah, yes. (gulps down a spoonful of soup) INT. DIANA'S APARTMENT - NEW YORK CITY - NIGHT WE HEAR BACKGROUND MUSIC OF THE JEWISH LEGEND SHLOMO CARLEBACH QUICK CLOSE SHOT OF THE SHLOMO CARLEBACH CD COVER (Shlomo Carlebach, who resided in New York City and died in 1994 at the age of 70, composed thousands of songs and performed world- wide, from Russia to India to Poland to Israel. Many of his songs have become staples of joyous Jewish occasions.) As Diana prepares supper for herself, KAREN, Diana's roommate, about Diana's age, walks in from another room, dressed to go out on the town. KAREN (patting down her dress) Well? DIANA Looks great. KNOCK ON DOOR. Karen opens the door; it's TOD, her boyfriend, a handsome guy around her age. They greet each other with a kiss. KAREN (to Diana) Oh ... just remembered ... Tod's cousin owns a hotel in London. We can get a free room. DIANA Karen, we're going to Paris. Thanks anyway, Tod. TOD (glances at the CD player) You listening to this Carleone guy, again? DIANA That's Carlebach. Carleone killed people. TOD (good-naturedly) Well you're killin' ME with this stuff. DIANA Well, you know what they say: One person's poison is another person's medicine. TOD Look, when Carleone gave poison, it was poison. KAREN (playfully slaps Tod) Come on, let's go. Diana's CELL PHONE RINGS - somewhere. After a few second of searching, she finds it in her pocketbook. DIANA Hello? (listens) Hi dad. Karen and Tod wave goodby and leave. INTERCUT PHONE CONVERSATION between Diana and her father, Ramiro, who is home in Rochester, New York. RAMIRO Diana, when are you getting that phone of yours fixed? I hate talking on these things. DIANA Dad, you're on a regular phone. I'm on the cell. RAMIRO But we both keep breaking up. DIANA They were supposed to come yesterday. RAMIRO I'm sure you heard by now. DIANA Heard what? RAMIRO The alert. DIANA Yes, Isaac told me. RAMIRO Well? DIANA Well what? RAMIRO Can you get your deposit back? DIANA What? RAMIRO Your plane ticket. DIANA Oh, no, dad, we're not canceling the trip. RAMIRO What do you mean you're not canceling ... DIANA ... dad, the alert is for Israel, not France. RAMIRO Diana, it's not safe to travel. Europe isn't safe either. (a second of silence) Diana, I want you to cancel the trip. DIANA Dad, are you forgetting I'm not ten years old? RAMIRO Are you forgetting we help you out with the rent every once in a while so you can take a trip? DIANA (exasperated) Uh ... that's not fair. CAMERA AT THE CAMPUZANO HOME PANS FROM Ramiro to Diana's mother, Mabel, listening nearby. She motions her disapproval of Ramiro's remarks, then takes the phone from him. MABEL Diana, have a good time in Paris. (Ramiro has an angry look) DIANA (relieved) Thanks mom. MABEL (whispers to Ramiro, covering the mouthpiece) Ramiro, you can't intrude on her life like this. (to Diana) Diana, we'll speak later. DIANA Okay mom. They hang up. CAMERA REMAINS IN THE CAMPUZANO HOME MABEL Ramiro, she's a grown woman. RAMIRO (softening up a little) I know, Mabel, I'm just worried. MABEL (with understanding) I know, Ramiro ... I know. EXT. WILLIAMSBURG - RABBI MALLACH'S HOUSE - DAY A CAB DRIVES UP, Diana gets out. INT. HALLWAY Diana knocks on the door and is greeted by an elderly woman. WOMAN Yes? DIANA I have an appointment with Rabbi Mallach. WOMAN Rabbi Mallach won't be back. DIANA What do you mean he won't be back? WOMAN He's had a little health complication. (Diana is stunned) What is your name? DIANA Diana. WOMAN Oh, yes, Diana, we tried calling you, but your phone is out of order. We only have one number for you. DIANA (to herself) Oh God, the phone's dead. INT. CLASSROOM - JEWISH THEOLOGICAL SEMINARY - DAY CLOSE SHOT OF Isaac. ISAAC Are you out of your mind? ANOTHER ANGLE, revealing an empty classroom, save for Isaac and Diana. DIANA Isaac, I just needed one more visit. ISAAC Diana, there are many competent Rabbi's who can give you the final approval. DIANA You don't understand, he's been my mentor since college. ISAAC Look, it's not like you'd be abandoning him for another Rabbi. You can get your approval here. This is not something people get insulted over. When things cool off ... DIANA ... Isaac, I'm going to Israel. (Isaac look unhappy) Come on, your parents live there. ISAAC My parents don't hang out in hotels, shopping malls and pizza shops. DIANA (tears welling up in her eyes) Isaac, I don't know how sick he is. I have to see him at least once more. ISAAC What about your parents? DIANA What about them? (pause) Isaac, they call once a week. I just spoke to them this morning. By the time they call again, I could be back. ISAAC Could? DIANA Okay, will. ISAAC And if not? DIANA I'll be back. ISAAC Diana, if they call me, I'm not lying for you. DIANA You don't have to. Just tell them you'll give me the message. ISAAC I don't like this one bit. DIANA (irritated) You don't have to like it, Isaac. It's my decision. I think I'm mature enough to make my own decisions. ISAAC No one's questioning your maturity. It's your timing and judgement. DIANA Don't lecture me now, Isaac. She storms out, slamming the door behind her. EXT. BELT PARKWAY - KAREN'S CAR - MOVING SHOT - DAY INT. DIANA AND KAREN DIANA Look, Karen, I'm really sorry. KAREN It's okay. We can do it some other time. Paris isn't going anywhere. A few SHOTS of the scenery. (hesitantly) Diana ... Tod asked me to move in with him. DIANA Oh? KAREN I'll be out by the time you get back. More scenery. (Diana looks a little sad) Come on, Diana, I'm only moving three blocks away. It's not like we're not going to see each other. We can do the trip on your next vacation. INT. JFK AIRPORT TERMINAL BUILDING - DAY As Diana and Karen hug and kiss goodby, Diana notices a familiar figure in the sea of airport travelers -- Isaac. He steps forward. She walks toward him. They meet half way. ISAAC Look, I'm sorry. I shouldn't have ... DIANA ... no ... (puts two fingers over his lips) ... it was my fault. You may be right about my judgement ... (Isaac clasps her hand) ... I should've told you what's in my heart. ISAAC I know. I know what's in your heart. (pause) Have a safe trip. She heads for the boarding gate, waving goodby. CUT TO her plane taking off. EXT. MARKET PLACE - ISRAEL - DAY (Unless otherwise indicated, everyone in scenes in Israel speaks with middle eastern accent.) URI, an Israeli, around 30, and AHMED, an Arab, around 20, are at a fruit stand, on opposite sides of a table. Obviously not wanting to be seen together, they talk to each other quietly, without eye contact, pretending to be shopping. AHMED It's set for September 4th. URI Which one? (a second of silence) Ahmed, which one? AHMED I don't know. I just know September 4th. (picks up some fruit and looks it over) I will let you know. An elderly women walks into the SHOT. WOMAN Oh, Ahmed, what are you doing here? AHMED (startled) (turns his back to Uri) Ah, Tessle, how are you? WOMAN How is your mother? CAR NEARBY Inside are Abu and one of his thugs. Abu is watching Ahmed through the cross-hairs of a high-powered rifle. ABU A bullet is too good for this traitor. He tries to take a shot at Ahmed, but the woman keeps getting in his way. AHMED AND THE WOMAN AHMED I'm making supper for my mother. WOMAN You're a good boy, Ahmed. She walks off. URI Ahmed, where? AHMED Where, what? URI September 4th. AHMED Ah, yes, September 4th ... this will be ... A SHOT RINGS OUT. Ahmed falls dead. Uri hits the ground for cover. Everyone starts running, screaming, dropping to the ground, etc. Several more SHOTS COME URI'S WAY, but miss. URI (shouts into a hidden mike in his sleeve) He's been hit. He's been hit. Abu's car tears out of its space. A car full of Israeli agents comes out of nowhere and gives chase. A SHORT CHASE SCENE ENSUES After considerable gunplay on both sides, Abu and his cohort lose the Israelis by dumping their car and hopping onto motorcycles planted in advance. They speeding off in rough terrain inaccessible to cars. EXT. BEN GURION AIRPORT - DAY Diana steps off her flight from New York. EXT. CAB - DIANA IN BACK SEAT - MOVING SHOT - DAY The cab stops on a quiet street. With a paper in her hand, Diana gets out and looks for an address. With AUDIO OFF, we see Diana ringing a bell, then getting into a short verbal exchange with a woman who comes out on a balcony. The woman points to the corner. The CAMERA DOLLIES with Diana as she walks toward the corner then turns. There, she encounters a sea of people. There seems to be some sort of rally, demonstration, or something. Glancing at her paper from time to time, she barely manages to squeeze through the crowd. Reaching the center of the crowd, she sees a coffin; it's a funeral. And, by the size of the crowd, it's obviously for a well- known person. We see a CLOSE SHOT of the address on Diana's paper, as she glances at it once more. Then the CAMERA ZOOMS in on the street address directly behind the coffin; they're the same. Diana seems slightly taken aback. She spots a familiar looking Israeli soldier in the crowd talking to a woman. FLASHBACK Diana is in Rabbi Mallach's New York "waiting room" for the first time, when Ezra, the Israeli who lost his wife and child in a terrorist attack, enters and sits down next to her. END OF FLASHBACK The soldier is Ezra. Diana frantically pushes her way through to him. From a slight distance, we see, but don't hear, Diana greeting Ezra. She points toward the coffin, obviously asking about the funeral. His answer comes with a solemn face. Diana breaks down and cries. Ezra tries to console her. He hands her a handkerchief. EXT. EZRA'S JEEP DRIVING DOWN THE ROAD - MOVING SHOT - DAY Ezra DRIVES, the woman is in the passenger's seat, Diana is in the back. EZRA He waited till the last minute. He didn't want to announce he's not going to New York, in case he felt better. But he never recovered. (glances in the rearview mirror at Diana's anguish face) A lot of people are going to miss him. DIANA So, when did you come back? EZRA I said I was going to get on a plane the day the Rabbi told me it's okay. That's exactly what I did. Two years later, I got married again. (the woman smiles at Diana politely) One month after the wedding, I said, I'm not waiting for them this time. This time, I'm going after THEM. After driving through some more streets, the jeep comes to a stop in front of an attractive hotel. DIANA Well, it was great seeing you again. Hopefully, next time it'll be under more pleasant circumstances. (to Ezra's wife) It was a pleasure meeting you. EZRA'S WIFE It was my pleasure. EZRA Nice to see you again. Diana gets out. INT. CHECK-IN COUNTER - ELDERLY WOMAN CLERK I'm sorry, we are all booked up. DIANA I called yesterday. CLERK Did you make reservations? DIANA No. CLERK Why not? DIANA I was told you're usually not booked this time of the year. CLERK That's true. But we got in a group from the states, their reservations got mixed up in another hotel ... (looks at her computer) ... if you don't mind doubling up, I can put you in with a girl from Boston. DIANA I'll take it. I don't care if you put me in with a midget from Wisconsin. I just need a room. HALLWAY - ROOM 57 Diana knocks on the door. A woman slightly younger than her answers. DIANA Hi, I'm Diana. WOMAN (with a bright smile) (American accent) Yes, come on in, I'm Debbie. CUT TO A SHORT WHILE LATER Debbie just came out of the shower, and, still in her bathrobe, is drying her hair. Diana lies on her bed, relaxing. DEBBIE If you feel up to it, you're welcome to join us. LOBBY Debbie comes out of the elevator to a waiting group of about six women and four men, around her age. All are dressed casual-neat, ready to paint the town. (All speak with American accents.) ONE WOMAN (good naturedly) Debbie, why are you always the last one? DEBBIE I have a new roommate. ONE WOMAN How about the airport, yesterday? DEBBIE (playfully nudges her) Oh, Rita, stop kvetching. INT. FANCY RESTAURANT - NIGHT Debbie and her gang, without Diana, are shown to a table by the maitre d'. INT. ISAAC'S PARENT'S APARTMENT - DINING ROOM - NIGHT ISAAC'S PARENTS, MOISH and HELLEN, who speak with Jewish accents, and Diana, are seated around the dinner table. Diana's dialogue in this scene is low keyed; she's still down from her day's ordeal. HELLEN You didn't have to go to a hotel. We have plenty of room. DIANA No, I couldn't impose. With your recovery and all; I just couldn't. HELLEN Nah, my angioplasty was weeks ago. My heart's fine, I'm fine. It would've been no trouble at all. MOISH Diana, it's not good to be depressed. (eats vegetables) You have to just pick yourself up and move on. HELLEN We learned that the hard way in the camps. (takes in a little roast beef) DIANA Isaac told me. HELLEN Did he tell you we were both married? (Diana munches on some crackers) I had two sons. (points to Moish) He had a daughter. MOISH All gone. (more vegetables) I know you can't compare the two situations, but how you handle one pain, that's how you handle another pain. You always have to look for the light. (eats some meat) It's there, you just have to look for it. EXT. MONTAGE OF DIANA HANGING OUT WITH DEBBIE'S GROUP - MORNING We see the group snapping pictures of each other riding camels, conversing with Israeli soldiers on tanks, and watching an air show of Israeli jets. We also see them in various tourist hot spots; the Temple Mount, Mossada, Mt. Sinai, etc. For lunch, the group settles down at a table in an outdoor cafe in the Ben Yehuda shopping plaza. This is the same cafe and the same table that appeared in the opening scene explosion (but not yet all the same people). They eat, drink, laugh, and just seem to be having a great time. A SHOT OF 2 ISRAELI SOLDIERS NEARBY; the same ones from the opening scene. END OF MONTAGE Noticing a public phone across the street, Diana excuses herself. CUT TO PHONE CONVERSATION between Diana and Isaac. DIANA Your parents are something. ISAAC (comically) Why do you think I picked them? DIANA That pep talk really got me going again. (pause) My parents ... they call yet? ISAAC It's only been three days. (Diana's about to say something) And I won't call them. DIANA (relieved) (jokingly) You read my mind so well. ISAAC Right. As many times as you've mentioned it, I could've remembered your car VIN number by now. Laughing, Diana notices a familiar face a few feet from the phone booth; GREGG SALZMAN. He's window shopping with a woman, SHERRI WISE; both are American and roughly Diana's age. (These are the two people Diana was with during the opening scene explosion; their faces were seen at that time, but not Diana's.) DIANA Oh, God. ISAAC What? DIANA Someone I haven't seen in ... oh ... I can't believe it. Isaac, speak to you later. Diana hangs up and rushes over to Gregg and Sherri, who are now looking through the window of a WATCH STORE. DIANA Gregg? GREGG (turns around) Diana? They kiss with a friendly embrace. GREGG I can't believe this. (pause) Diana, this is Sherri. SHERRI Hi. DIANA Hi. GREGG (looking at Diana) Oh, God ... how long's it been? DIANA Ten years, I think. GREGG Don't tell me ... you live in Israel? DIANA No, no, just visiting. GREGG (to Sherri) We met at an Hospice when we first moved to New York. DIANA (points to her group) Hey, why don't you guys join us. GREGG Sure. As they cross the street, the CAMERA PANS BACK TO A DIGITAL CLOCK IN THE STORE WINDOW. It reads: September 4, 1997 - 2:02 PM DEBBIE AND HER GANG Diana, Gregg and Sherri APPROACH IN THE BACKGROUND. DEBBIE (looks at her watch) Oh, God, we have to start getting ready for the ceremony! Diana and company approach. DIANA Guys, I want you to meet some friends, Gregg, Sherri. They all say a polite hi, as Debbie's crowd gets up. DEBBIE Look, we hate to run like this, but we'll be late for that ground-breaking ceremony, if we don't leave like ten minutes ago. (pause) Hey, you can join us. DIANA (looks at Gregg and Sherri, who don't seem very responsive to the idea) (to Debbie) Uh ... we have some catching up to do. I'll catch you guys back at the hotel later. Oh, before you go ... (points to Debbie's camera) ... you mind? DEBBIE Sure, no problem. Diana, Gregg and Sherri sit down at the table, Debbie snaps a picture. (This was the last picture taken of Diana, Gregg and Sherri before the attack. The actual photo taken can be seen at www.innocenttarget.com.) DEBBIE Hey, nice meeting you guys. GREGG Same here. SHERRI Nice meeting you. Debbie's group leaves. DIANA (to Gregg) So ... how did that first job work out? GREGG Great. I was there for a couple of years. Diana, Gregg and Sherri continue to converse, but all CONVERSATIONAL SOUND IS LOWERED TO THE POINT OF BEING INAUDIBLE, and the STREET'S BACKGROUND NOISE COMES TO THE FOREFRONT. FADE TO about an hour later. They're still eating, drinking and conversing. AT THIS POINT, WE HAVE A REPEAT OF THE OPENING SCENE. Some of the CAMERA ANGLES should be identical to those of the opening scene, allowing the audience to recognize that this was in fact the opening scene. The major difference being, that in this repeat scene we see Diana's face, whereas in the opening scene we did not. REPEAT OF OPENING SCENE BEGINS Among the throngs of people moving in and out, 3 MEN IN OVERCOATS, a little overdressed for this weather, walk in, nervously shifting their eyes from side to side. One of the men is poorly disguised as a woman. Diana's eyes are diverted to this guy. DIANA That's odd. GREGG What? DIANA A guy dressed in drag ... in Israel? Somewhat apprehensive, Diana turns her attention to the 2 ISRAELI SOLDIERS with machine guns just outside the cafe. Suddenly, one of the 3 men slips his hand under his overcoat. DIANA (jumps up and shouts) No! The soldiers swing around instantly, raising their guns. But not quickly enough. The three men activate detonators under their overcoats -- creating three HUGH EXPLOSIONS, in rapid succession The explosions rip through the cafe, picking up Gregg and hurling him 8 feet away. Tables, chairs and other patrons go flying. When the smoke clears, we see Gregg with a broken leg, Sherri burnt over 30% of her body, and Diana bleeding profusely from the face. There are also dead bodies and body parts strewn about. CUT TO SEVERAL MINUTES LATER Ambulances, cops, military personnel and the news media are at the scene. As Diana, in critical condition, is carried from the rubble into an ambulance, she is photographed by just about every photographer at the scene. But her face cannot be seen through all the blood. A PARKED CAR CLOSE TO THE CARNAGE Inside are ABU and a cohort. ABU (looking with glee at the dead bodies) Excellent. They drive off. END OF OPENING SCENE INT. HADASSAH HOSPITAL Strapped to a gurney, with tubes in her veins and mouth, Diana, in her bloody clothes, is rushed through a few corridors. A slew of doctors and nurses, some helping to wheel the gurney, some just trying to keep up with the frantic pace, follow. A nurse rushes over. ONE DOCTOR (to the nurse) We have partial collapse of the skull. NURSE O.R. 4. They turn a corner, to O.R. 4. CLOSE SHOT OF Diana's face: it is totally unrecognizable. A second doctor tries to adjust the tube leading into her mouth. THIRD DOCTOR Keep the tracheal passage clear. SECOND DOCTOR I'm trying, doctor. THIRD DOCTOR If that last millimeter closes up, there's no point in going to O.R. As they turn around another corner, Ezra, in uniform, comes rushing up from behind them. EZRA Doctor, which one is this? FIRST DOCTOR I don't know. We have 8 critically injured; the only thing I can tell you for sure is that this is one of the more serious ones. SECOND DOCTOR She's an American. EZRA (on edge) A name, doctor. Do you have a name? SECOND DOCTOR Her papers are up front. It's Diana ... Diana something. EZRA How bad? FIRST DOCTOR If we can get her through one night, we'll call it a miracle. Stunned, Ezra stops in his tracks. The doctors recede with Diana into the BACKGROUND. EXT. NEWSSTAND, ROCHESTER, NEW YORK - DAY CLOSE SHOT OF NEWSPAPER HEADLINES, similar to the SHOT in the opening scene: "Terrorist Attack in Israel kills 7, Wounds 192, 8 Critically" CAMERA PULLS BACK revealing a newsstand. Ramiro, Diana's father, passes by, carrying some groceries, completely oblivious to the news. EXT. CAMPUZANOS' HOME Ramiro enters. INT. On his way to the kitchen, Ramiro notices the telephone answering machine blinking, but keeps walking. Before Ramiro has a chance to put the groceries down, the PHONE RINGS. He picks it up. OPERATOR Hello, this is the operator. I have an emergency call from Israel. Will you accept the call. RAMIRO Sorry, I know no one in Israel. (hangs up) INT. PUBLIC PHONE, HADASSAH HOSPITAL, ISRAEL - NIGHT Ezra is on the phone with the operator. EZRA Operator, can I get the number, please? OPERATOR Sorry, the number is unlisted. EZRA This is an emergency. OPERATOR Sorry, I can only connect you, I can't give out the number. BACK TO THE CAMPUZANOS' HOME Ramiro has just started shelving the groceries, when the phone rings again. He picks it up. OPERATOR Hello, this is the operator. I have a collect call ... RAMIRO ... operator, I don't know anyone in Israel, I'm not accepting the call. OPERATOR Excuse me? RAMIRO I said, I don't know anyone in Israel. OPERATOR Sir, this call is not from Israel. This is a collect call from a Mabel in Arizona. RAMIRO Oh ... oh, yes, put the call through. The operator connects them. MABEL (Diana's mother) Ramiro, what's going on? RAMIRO Nothing, I got some wrong number from Israel. (pause) So, how's Phoenix? MABEL We're not in Phoenix. We're in ... oh, I don't know where we are. We got a flat in middle of nowhere. Getting change and a phone that works around here is impossible. It's been some day, let me tell you. RAMIRO Well, don't you have the AAA card? MABEL They already fixed it. (CUT TO Mabel on a public phone in a gas station. Jorge, Diana's brother, is in the car as it's being filled up) It took them over an hour to get to us ... don't ask. Ramiro, call the Glenmore in Phoenix and push our reservations off a day. RAMIRO Mabel, you call this a vacation? MABEL Well, no Ramiro, getting a flat wasn't part of the plan. RAMIRO This is why I don't go to these things. MABEL Please, Ramiro, just call the hotel. RAMIRO Where are you staying tonight? MABEL First place we find. WIPE TO LIVING ROOM OF CAMPUZANOS' residence, later that night. With a newspaper next to him, Ramiro is asleep on the couch in front of an open television. THE PHONE RINGS. Sluggishly, he picks it up. RAMIRO Hello. OPERATOR Hello, this is the operator. I have an emergency call from Israel. Will you accept the call? EZRA (shouts in the background on the other end) It's about your daughter! Operator, tell him it's about his daughter. OPERATOR He says it's about your daughter. RAMIRO (thinks for a moment) Operator, this must be some kind of mistake. My daughter is not in Israel. Who are you looking for? OPERATOR Is this the Campuzano residence? RAMIRO Yes. EZRA (shouts in background) It's about Diana. RAMIRO (startled, not sure he heard right) (and still not convinced) Operator, there's obviously been some kind of mixup here. My daughter is in New York. Please double check the number. (hangs up) He sits back on the sofa, staring into thin air, not sure what to make of it. He then picks up the phone and just holds it, as though debating whether to dial. INT. HALLWAY IN FRONT OF DIANA'S APARTMENT Karen, Diana's roommate, and her boyfriend, Tod, hold several suitcases as they exit the apartment. KAREN (as she locks the door) I'm gonna miss this place. (they head for the elevator) TOD This, took so long to pack? KAREN The phone guy was here all day. I knew they'd fix it when I leave. THE PHONE RINGS LOW IN THE BACKGROUND; Karen and Tod don't hear it, and continue toward the elevator. CUT TO INTERIOR of Diana's apartment -- THE PHONE'S RINGING IS NOW EAR-PIERCING. CUT BACK TO RAMIRO RAMIRO (leaves message in Diana's recorder) Diana, please call as soon as you get in. As he hangs up, he takes another look at their answering machine. This time he plays back the messages. MESSAGE 1: Mr. and Mrs. Campuzano, this is Mr. Miller from the U.S. State Department in Washington. Please call us as soon as you get this message - 202-555-8529. Thank you. MESSAGE 2: Mr. and Mrs. Campuzano, this is Mr. Miller from the U.S. State Department in Washington. Your daughter, Diana, is fine now, but she's been the victim of a terrorist attack in Israel. Please call us the moment you get this message - 202-555-8529. Thank you. RAMIRO Oh God. Oh God. He frantically dials the State Department's number. It's busy. He dials again; it's busy. He then dials the operator. RAMIRO Operator, this is an emergency call to 212-555-8529. (the operator also gets a busy signal) OPERATOR I'm sorry, the circuits are busy. RAMIRO Operator, please try again. OPERATOR (after getting another busy signal) I'm sorry, the circuits are still busy. Please try again in a few minutes. After hanging up, Ramiro runs to his desk, ruffles through a batch of papers, and takes out what appears to be a hotel reservation. He dials the hotel number. RAMIRO Hello, I'd like to leave a message for a Mabel Campuzano. CLERK (INTERCUT) Just a moment, please. (checks her computer) I'm sorry, she hasn't checked in yet. RAMIRO I know she hasn't checked in yet. If she does or she calls for any reason, to confirm, to cancel, whatever, tell her to call her husband immediately -- it's an emergency. CLERK Okay, I'll make note of it. Ramiro hangs up, but keeps his grip on the phone for a few seconds, not knowing what to do next. He takes out his wallet, goes through his license, registration and so on, till he gets to his AAA card. He dials their number. RAMIRO Hello, this is an emergency. My wife had a flat fixed within the last couple of hours. I believe it was in Arizona. I need to know what town that was in. (listens) (looks at his AAA card) 269958011. (listens) Thank you. (hangs up) (to himself, as he dials the operator) Oh God, let there be less than twenty motels. (listens) Operator, please connect me to the information in Clifton, Arizona. (listens) Thank you. (listens) Yes, can I get the names of four of five motels in Clifton? (listens) (excitedly) Yes, please. (writes down a phone number) Thank you. (hangs up) (to himself, as he dials) Thank God, only one motel. INT. ROOM IN SMALL RUNDOWN MOTEL IN CLIFTON, ARIZONA - NIGHT Mabel and Jorge are getting ready to retire for the night when THE PHONE RINGS. Mabel picks up. The CAMERA SLOWLY DOLLIES IN to capture the expression of horror on her face as she listens. EXT. TERMINAL BUILDING, PHOENIX INTERNATIONAL AIRPORT - NIGHT Mabel's car comes to a halt in front of the building. Mabel gets out, Jorge takes the wheel. MABEL Drive safely. Call as soon as you get home. JORGE Okay. (about to drive off, remembers, shouts out the window) Mom, where's my ticket? MABEL Jorge, we need you at home. No one'll know we're away. Jorge drives off, Mabel enters the terminal building. THE CAMPUZANO RESIDENCE - RAMIRO IS ON THE PHONE With CNN ON THE TV IN THE BACKGROUND, Ramiro looks pretty shaken as he listens to someone on the other end. MAN (V.O.) The Israeli government will pay for everything; planes, hotels, everything. They have tickets waiting for you and your family at the El-Al counter. As Ramiro hangs up, the CAMERA PANS to a CNN report on TV: "The explosion in Jerusalem's Ben Yehuda Plaza claimed 7 lives and wounded 192. 8 were critically injured." WE SEE FOOTAGE of Diana being carried from the rubble, her face completely covered in blood. RAMIRO Oh God, I know that's her. INT. TERMINAL BUILDING, JFK AIRPORT, NEW YORK - NIGHT Mabel arrives from her flight from Phoenix. Ramiro waits for her, with El-Al tickets in hand. She approaches him with tears, they hug for moment, then rush off. WIPE TO AN EL-AL GATE Ramiro and Mabel board a flight to Israel. INT. HADASSAH HOSPITAL, INTENSIVE CARE UNIT (ICU) - ISRAEL - DAY Diana is unconscious, heavily sedated and hooked up to various MEDICAL EQUIPMENT. She is BANDAGED EXTENSIVELY AROUND THE HEAD AND UPPER PART OF HER BODY. HARDLY ANY PART OF HER FACE SHOWS THROUGH. TUBES RUN INTO HER HAND, NOSE AND MOUTH. The CAMERA PANS to a doctor standing next to her bed, looking at her chart, shaking his head. A second doctor walks in. FIRST DOCTOR (disheartened) 7 and a half hours of surgery. SECOND DOCTOR Her parents are on the way. FIRST DOCTOR Let's hope they get here soon. INT. TERMINAL BUILDING, BEN GURION AIRPORT - DAY Ramiro and Mabel step off their flight from New York. EXT. Coming out of the terminal building, they pass several jeeps, looking at their official numbers. Finally, they stop at one with Ezra in the driver's seat and a higher ranking officer in the passenger's seat. RAMIRO Ezra? EZRA Mr. and Mrs. Campuzano. Ramiro and Mabel climb in. OFFICER The hotel is all taken care of. They drive off. INT. HADASSAH HOSPITAL Led by Ezra and the officer, Ramiro and Mabel are rushed through corridors full of reporters and anguished relatives. At one point they pass a couple of nurses wheeling a body on a gurney completely covered with a sheet, followed by a man and a woman crying. Diana's parents arrive at ICU. A nurse takes them in, Ezra and the officer stay out. Inside, they see a line of beds, everyone of them occupied. As they pass one patient after another, they notice one that's bandaged over most of the body. RAMIRO (quietly to Mabel) Oh God, look at this one. They keep walking. In a second they realize they lost the nurse. They look back and see her standing by the bed of that patient bandaged over most of the body. They walk back to the nurse. The nurse points at the patient -- that's Diana. Mabel collapses into Ramiro's arms in tears. WIPE TO waiting room. Along with other patients' relatives, Ramiro and Mabel nervously wait. Doctor SHMUEL BERGER, a man around sixty, walks in, pulls up a chair and sits down next to them. DOCTOR The nasal reconstruction was successful. The plate we installed ... (points to his skull) ... it causes a little swelling in the brain area, which is expected ... (Ramiro and Mabel don't look too reassured) RAMIRO ... doc ... level with us ... DOCTOR ... it'll take at least forty eight hours. We just can't say at this point. RAMIRO What are the chances? DOCTOR (hesitates for a moment) Look, I've seen patients with this kind of trauma pull through. RAMIRO So what you're saying is ... DOCTOR ... what I'm saying is, considering what she's been through, she's doing as well as can be expected. It's in God's hands now. We'll see in the next 48 hours. (Mabel and Ramiro look at each other with anguish etched in their faces) Look, why don't you go back to the hotel. There's nothing you can do for her right now. We'll call you the moment there's anything. CUT TO the Burn Unit. With burns over 30% of her body, Sherri is bandaged quite extensively throughout her body. Although heavily sedated, she is conscious. Her grief-stricken parents, GILDA and MORT, are at her side. GILDA I don't understand how this can happen? MORT (trying to comfort her) Gilda, it'll be alright. She's responding to treatment. BACK TO RAMIRO AND MABEL - DOCTOR BERGER IS GONE MABEL Ramiro, you go first. RAMIRO No, Mabel, go back to the hotel, get some rest. You can come back in the morning. I have time. MABEL (as she inches toward the door) Call me as soon as ... RAMIRO ... don't worry, I'll call you. Mabel leaves. EXT. As Mabel exits the hospital and hops into a cab, the CAMERA PANS TO AN APPROACHING MOTORCADE OF SEVERAL SUVs WITH TINTED GLASS WINDOWS. It stops at the hospital entrance, and is immediately surrounded by news reporters. Along with a throng of security personnel, Prime Minister Benjamin Natanyahu emerges from the motorcade. Only a couple of the news reporters are allowed into the hospital with the Prime Minister. INT. GREGG'S ROOM Although somewhat banged up, Gregg is the least injured of his friends, and is fully awake and lucid. As he sips a cup of orange juice, a whole commotion suddenly comes into his room: Prime Minster Benjamin Natanyahu and his entourage. Gregg props himself up, with a bright smile. NATANYAHU (delighted that Gregg's injuries are not serious) (comically) Mr. Salzman, your parents were not easy to track down. Do they always go on such exotic vacations? GREGG (laughing) Only when they're trying to get away from me. NATANYAHU Well they did a good job. We had an easier time tracking down Abu Nidal in his heyday. One of Natanyahu's aids speed-dials a number on his cell phone and hands it to Gregg.

GREGG (into phone) Hello. (listens) Dad. (listens) I'm fine. It's not serious. (listens) I'm relaxing. I'm hanging out with the Prime Minister. (Natanyahu smiles) Hello ... you're breaking up. Hello? (to aid) Lost him. (hands the phone back to the aid) AID (after trying once or twice to redial) The signal's not coming through. NATANYAHU (as he and his entourage head for the door) They'll be here soon ... maybe four or five hours or so. GREGG Prime Minster, how're Diana and Sherri? NATANYAHU (hesitates for a moment) They'll be fine. You were the lucky one. GREGG Did you find those responsible? NATANYAHU We don't have to. (pause) We know. EXT. SKYS OVER THE DESERT NEAR ABU'S BOOT CAMP - DAY THREE ISRAELI ATTACK HELICOPTERS FLY IN FORMATION The various CAMERA ANGLES and BACKGROUND MUSIC should add to the anticipation that dramatic events are about to unfold. (Descriptions in the following action sequences will be limited to highlights and outcome. Detailed choreography, will be left to the director or production.) ABU'S BOOT CAMP Although Abu is nowhere in sight, about three dozen of his terrorist goons are in full training; shooting at dummy targets, jumping over barbed-wired obstacles, hand-to-hand combat, etc. They HEAR THE SOUNDS OF HELICOPTERS APPROACHING. Everyone freezes. ONE TERRORIST (the moment the THREE ISRAELI CHOPPERS COME INTO VIEW) (shouts) Israeli! Everyone runs for cover into TRENCHES AND SHACKS, brandishing weapons of every kind -- guns, grenade launchers, sub-machine guns, sticks of dynamite, etc. Both sides open fire almost simultaneously. A fierce battle ensues. After some casualties on the terrorists' side, one of the choppers is hit and forced to crash land. The occupants are okay, but have a hard time keeping the terrorists, who are moving in on them, at bay. The two choppers still in the air, struggle between fending off the barrage of gunfire and trying to protect their comrades on the ground. Eventually, one of the choppers makes a daring landing. The crew of the downed chopper hops on. The moment the rescue chopper takes off, the fire from both choppers is stepped up to a fever pitch; the terrorists are picked off one by one with machine gun fire and small explosives until none are left standing. The two choppers fly over the area several times. From the choppers' POV, we see motionless bodies, the downed chopper, and a landscape disfigured with craters. The choppers leave. EXT. SOMEWHERE IN INTERNATIONAL WATERS, MIDDLE EAST - DAY TWO SEASTAR PETURI AMPHIBIAN PLANES (small, single-engine, two- seaters) are on water, all revved up and ready to go. The passenger seat of each plane is loaded with explosives. Nearby, is a YACHT WITH A DECK FULL OF ELECTRONIC EQUIPMENT: RADIO COMMUNICATIONS, RADAR SCOPE, etc. One of the planes takes off. After reaching an altitude of about 300 feet, and as it is being TRACKED ON THE YACHT'S RADAR SCREEN, the plane dives. The moment it disappears from the radar screen, the CAMERA PANS to the radar operator: it's Abu, very much alive. ABU (shouts into the radio) Go! The second plane takes off. The moment the second plane appears on the radar screen, Abu has a look of disgust. ABU (angrily) No! Too soon. You must stay low. (very agitated) Back ... from the beginning. HIS CELL PHONE RINGS. Abu answers it. ABU Yes. (listens several seconds) (slams down on the equipment in anger) Son of a bitches! ABU'S BOOT CAMP One of Abu's men, critically injured but still alive, apparently had enough life left in him to call on his cell phone. MAN (barely manages to get the words out) They ... they got everyone ... (drops the phone and dies) BACK TO ABU'S YACHT Furious, Abu throws down the phone. By now the two planes are back on water and ready to take off again. ABU (shouts) Go! (with fury, as one plane takes off again) This will be a holiday they will never forget! INT. HOTEL ROOM - RAMIRO - NIGHT INTERCUT PHONE CONVERSATION with Isaac. RAMIRO There's no change. ISAAC Give it some time. It's only thirty-six hours. RAMIRO I don't know. (pause) Isaac .. bring the Carlebach tapes. INT. WAITING ROOM - HADASSAH HOSPITAL Mabel has dozed off. Suddenly, A LOUD BUZZING SOUND IS HEARD. CUT TO THE ICU NURSE'S DESK NURSE (frantically, into speaker system heard throughout the hospital) ICU 5, ICU 5, ICU 5. Several doctors and nurses rush to Diana's bed. WAITING ROOM Mabel has woken. MABEL (to herself) Oh God, ICU 5. She runs to Diana's bed. DIANA'S BED One of her vital-functions monitors has flatlined. ONE DOCTOR Re-intubate! (to one of the nurses) Nurse, we need an endotracheal tube. MABEL (with a look of horror, shouts) Do something! (rushes over to the bed) One of the nurses restrains her and gently moves her away from the commotion. Another nurse rushes to a cabinet and pulls out a tube similar to the one in Diana's mouth and hands it to one of the doctors. The doctor removes the tube from Diana's mouth, performs CPR, then inserts the new tube. Another doctor turns a lever on the oxygen valve, increasing it's flow. SHOT OF THE MONITOR - Diana's vital sign slowly returns. NURSE It's coming back. They breath a sigh of relief. A LITTLE LATER - IN A CORRIDOR OUTSIDE THE ICU DOCTOR BERGER, RAMIRO and MABEL RAMIRO (loud and irritated) This is our daughter, for god's sake! BERGER Mr. Campuzano, I assure you she's getting the best possible care. RAMIRO Doctor, she almost died tonight. BERGER Look, we're not god, but we've restore to health people in worse shape. In spite of what happened tonight, there is still much reason for hope. MABEL That's easy for you to say, doctor. It would be different if it were your child. BERGER No, Mrs. Campuzano, it's not easy for me to say. My son was not that lucky. He was doing his first year residency, when an injured patient he was treating stabbed him. He never made it to the operating room. INT. SECRET MILITARY SURVEILLANCE AND STRATEGY FACILITY - ISRAEL The facility is full of computers, consoles, satellite monitoring scopes, maps, conference rooms, etc. EVERYONE IS IN MILITARY UNIFORM. SOLDIER (with a headset and mike, sitting in front of a console) Abu Atef is on his way to Paris. INT. BEN GURION AIRPORT TERMINAL BUILDING - DAY Passing a security checkpoint, three Israeli Mossad (secret service) agents flash badges and enter a gate for an outbound flight. The CAMERA PANS to another gate: Isaac steps out, arriving from New York. INT. DIANA'S ROOM, ICU - HADASSAH HOSPITAL - DAY

Isaac has a small CD player on Diana's bed, playing Shlomo Carlebach music, anxiously looking for signs of movement. CAFETERIA - RAMIRO AND MABEL AT A TABLE SIPPING COFFEE MABEL He's been at it for two days now. RAMIRO Well it can't hurt. I've heard stories ... MABEL ... that's just what they are -- stories. She's in a coma, Ramiro. He's going to bring her out with music? Come on, be real. INT. PENTHOUSE SUITE - PLUSH HOTEL - PARIS, FRANCE - DAY The diplomat who gave Abu a trunk full of money earlier, sits at the center of a long table in a LARGE ROOM WITH SEVERAL DOORS. Two Arab men wearing Ghutrahs (Arab headdress), sit on each side of him. In front of them, stand Abu and two of his men. Two burly men stand guard at what is obviously the main entrance. DIPLOMAT (slams down hard on the table) (furiously) We've already FINANCED the training! ABU (loud and defiantly) This is a high-risk game. I have no control over the Israelis. One of the diplomat's men jumps up. MAN (shouts at Abu) You will speak with respect when you address Sheik Alhazmi. The diplomat (Alhazmi) motions to his man it's okay; he sits down. ALHAZMI (to Abu) If you can't protect your men in the desert, how will you protect them when the operation enters its final phase? ABU I have completed many operations for you. I have successfully eliminated over two hundred infidels. MAIN FLOOR LOBBY The three Israeli Mossad agents, dressed in business attire, enter. Upon approaching the elevator bank consisting of three elevators, they notice one elevator is guarded by two husky bouncer-types. One guest approaches that elevator and is waved away to the other two elevators. The agents split up: two of them head for the staircase, while the third heads for the elevators. Along with two other guests, this one agent enters one of the unguarded elevators. INT. ELEVATOR The agent presses a floor above the floors of the other two guests. As soon as the elevator reaches his floor (after the other two guests have gotten off), he presses LOBBY. Moment later, he presses the STOP button, stopping the elevator between the first and second floors. An alarm goes off. The agent quickly jumps up to the small exit trapdoor on top of the elevator, climbs out, jumps down a couple of feet to the top of the adjacent elevator, enters it through it's trapdoor, and pushes the second floor button. LOBBY The two guards notice the display of the elevator they're supposed be guarding go "up." They radio their comrades in the penthouse suite. PENTHOUSE The two burly men run out to the elevators. SECOND FLOOR The elevator with the agent in it stops, the two other agents get in, and the three head for the penthouse. PENTHOUSE The two big guys arrive just in time, with guns drawn, to see the elevator with the Mossad agents in it arrive. The door opens; but the elevator is empty. One of them enters, looks around, then tries to open the trapdoor on top. It won't budge. Figuring it's just stuck, he takes the elevator down. Once in the lobby, he pokes his head out, looks at the other two guys, they all shake their heads in confusion. He then takes the elevator back up to the penthouse. TOP OF THE ELEVATOR The Mossad agents are all standing on the trap door. A second after the burly guy leaves, the Israelis climb down. PENTHOUSE SUITE - THE MEETING The burly guys come back in, one of them shrugs his shoulders at Alhazmi. ALHAZMI (to Abu) The people you have eliminated till now were mostly unarmed civilians. This will be different. This will be a direct challenge to the Israeli military. ABU I am confident we will succeed. ALHAZMI And you think more money will protect you? KNOCK ON THE DOOR Everyone freezes. One of the guards opens the door; no one's there. He draws his gun and steps out. When he doesn't return after few seconds, the second guard goes after him. When he doesn't return, just about everyone in the room draws a gun. NEXT ROOM The three Israelis wait quietly. Two of them hold the dead bodies of the guards, both of whom have been shot once in the head with pistols with silencers. The Israelis simultaneously drop the bodies. MEETING ROOM A loud thud is heard. Everyone jumps for cover. A second later, the three Mossad agents rush in, guns blazing. Bullets fly from both sides, in every direction. Several seconds into the gun battle, Abu shoots off the lock on one of the doors to an adjoining suite. He dodges a few bullets, but manages to slip out. The Israelis are kept from pursuing him, cornered by a hail of bullets. ADJACENT SUITE Abu runs through the suite, knocking over a few objects. HALLWAY Abu runs from the suite into the elevator. BACK TO THE GUN BATTLE By now half the arabs are dead, one of the Israelis is bleeding from a shoulder, and Alhazmi is on the floor, mortally wounded. The Israelis inch toward the door. After a few more seconds of gun play, they slip out. The Arabs are to weakened to pursue them. HALLWAY The Israelis rush down the staircase. A second later, the elevator door opens; the two guards from the lobby go running into the meeting room. EXT. HOTEL ENTRANCE The Israelis come running out, looking from side to side; they've lost Abu. A car pulls up, they get in and drive off. INT. CAR DRIVER I didn't see him. AGENT (throws up his hands in despair) He must have gotten out a back door. INT. BACK TO THE MEETING ROOM Alhazmi has been placed on a couch, and is surrounded by the only five men still alive. ALHAZMI (barely able to speak) Give him whatever he needs. Let him finish the job. (dies) INT. THE CAMPUZANOS' HOTEL ROOM - ISRAEL - NIGHT PIERCING SOUND OF THE PHONE RINGING Mabel, who is alone in the room, taking a nap, wakes up and answers the phone. MABEL (listens) (shocked) Oh God. Slams the phone down and rushes out. INT. HADASSAH HOSPITAL - NIGHT Mabel comes running in. The CAMERA DOLLIES WITH HER as she frantically makes her way through the corridors and into Diana's ICU room. There she finds overjoyed Ramiro and Isaac. CARLEBACH MUSIC IS STILL COMING FROM THE CD ON DIANA'S BED Mabel rushes over to Diana, whose eyes are still covered with gauze, and grabs her hand. CLOSE SHOT of Diana squeezing her mother's hand. With tears of joy, Mabel grabs Diana's other hand; CLOSE SHOT of Diana squeezing this hand too. With exhilaration, Ramiro puts one arm around Mabel and clasps his other hand over Diana's and Mabel's grip. A SHOT of Isaac, who has relief written all over his face. DIANA (barely manages to get the words out) I'm sorry. MABEL For what? Honey, there's nothing to be sorry about. We're here for you. DR. SHMUEL BERGER'S OFFICE (IN THE HOSPITAL) DR. BERGER, RAMIRO AND MABEL MABEL Doctor, we don't know how to thank you. BERGER (with a comedic touch) Thank your husband and Isaac. Their "treatment," we were never taught in medical school. (smiles) You can thank me in a week or two. Wheel her out very slowly. I want everyone to get a good look at a what a miracle looks like. RAMIRO Doctor, I must apologize ... BERGER ... no, please, Mr. Campuzano, there's no need. If you didn't react the way you did, I'd think you didn't care. INT. HADASSAH HOSPITAL CORRIDOR - ABOUT A WEEK LATER - DAY MOVING SHOT of Diana, her eyes still bandaged, being pushed in a wheelchair, holding her father with one hand and her mother with the other hand. Behind them are Sherri and Gregg, both still bandaged to some degree, but able to walk on their own. Trailing along are a dozen staff members, headed by Dr. Berger, all with bright smiles. As they get to the front lobby, Isaac waits for them with a camera. Waiting with Isaac, are Debbie and her gang (the girls Diana met in the hotel), holding flowers. They all get behind Diana to pose for pictures. EXT. Ezra, two military vehicles, and an ambulette, wait outside. Diana and the entire gang come out. Several news reporters snap away as Debbie hands Diana a bouquet of flowers and clutches her hand. DEBBIE A speedy recovery. DIANA Thank you. Diana is put into the ambulette. After saying goodby to the hospital staff, Ramiro, Mabel and Isaac get into the ambulette with Diana. With one military vehicle in the front and one in the back, they head for the airport. EXT. SHOT OF THE AMBULETTE MOVING THROUGH CITY STREETS - DAY INT. BEN GURION AIRPORT - DEPARTING GATE Ezra and his comrades look on as Ramiro, Mabel and Isaac wheel Diana through the gate. EXT. SHOT OF A PLANE TAKING OFF INT. PLANE Several SHOTS of Diana being tended to by her parents and Isaac. With her eyes still covered with tape, they feed her, prop her up with a pillow, put on her earphones, etc. EXT. SHOT OF THE PLANE LANDING AT JFK, NEW YORK CITY - DAY EXT. A SHOT of the four of them boarding a smaller plane, for a shuttle flight to Rochester, New York. EXT. SHOT OF THE PLANE LANDING AT ROCHESTER INT. AIRPORT - DAY INT. DIANA'S ROOM - THE CAMPUZANOS HOME - NIGHT

Diana has just fallen asleep. Isaac leaves the room. KITCHEN Mabel and Ramiro are busy putting dishes away. ISAAC (walks in) She's asleep. Look, I really have to get back. MABEL Isaac, we really want to thank you for everything. ISAAC For what? It was her willpower. RAMIRO Without you there, the willpower wouldn't have been the same. ISAAC (heads for the door) See you guys on the weekend. (leaves) Quick SHOT of Isaac on a flight back to New York City. INT. MABEL'S AND RAMIRO'S BEDROOM - NIGHT Lying in bed, Ramiro watches TV, Mabel reads a magazine. MABEL It's going to be a long two weeks. RAMIRO Look, she's come this far ... WE'VE come this far ... I think we're finally starting to see the light at the end of the tunnel. MABEL What if her eyesight doesn't come back? RAMIRO (a bit irritated) Mabel, don't! The last thing we need now is doubts. (lowers voice) She won't be speaking for another couple of days, but she can hear perfectly well. MABEL She's asleep. RAMIRO I just don't want to get into what ifs ... when the bandages come off, we'll see. Let's just thank God she's alive. If He brought her this far, He can restore her eyesight. INT. CLASSROOM - JEWISH THEOLOGICAL SEMINARY - NEW YORK - DAY Isaac teaches his class. ISAAC People have the ability to choose which impulse to follow: their good or their evil impulse. That is the heart of free will. One cannot blame his own wickedness on others. And, in the end, we're all held responsible for the choices we make. (student raises hand) Yes. STUDENT Well, what if it IS someone else's fault that you do bad things? ISAAC You can't kill someone because they double parked in front of you. Is it the other person's fault that you got angry? Yes. Is it the other person who provoked you by double parking in front of you? Yes. Are you allowed to kill him? No. Furthermore, leading a LIFE of wickedness, can never, ever be anyone else's fault but your own. EXT. ABU'S NEW BOOT CAMP - SOMEWHERE IN THE MIDDLE EAST - DAY ABOUT TWO DOZEN YOUNG MEN, MOSTLY NEW RECRUITS, SOME AS YOUNG AS SEVENTEEN, practice shooting hand-held and shoulder-held, large- caliber weapons at a tall structure haphazardly constructed for target practice. Abu walks around, monitoring their progress. ABU (to one recruit) Higher, higher. (walks on) (to another recruit) Use a heavier weapon. The recruit drops his weapon and picks up a bigger caliber one. From Abu's POV, CLOSE SHOT of one very young-looking man with anxiety etched in his face. Abu walks over. ABU What is the problem? MAN Abu, I don't know if I can do this. (almost in tears) I don't know if this is for me. ABU What did you think we were going to do here, pick apples? MAN Abu, please, I was not sure. ABU (feigns a smile) ... Kahlid, it's okay. Don't worry, it's okay. (Kahlid seems relieved) I understand. Your mother is probably waiting for you. You still want to see your mother, yes? KAHLID (smiles) Yes, she can't live without me. ABU (takes out his pistol) If I gave you this pistol and told you to kill your own mother, would you do it? KAHLID My mother? Abu, how can I kill my own mother? ABU How? (shoots him once in the head) This is how. (the man falls dead) The shooting stops and everyone turns to Abu. ABU (kicks the man's body aside) When I see your mother I will tell her you were very loyal to her. (looks back up at his men) Anyone else who wants to see his mother? (shouts) What are you all looking at? Keep shooting. The shooting resumes. EXT. BACKYARD AT THE CAMPUZANO HOME - A WEEK LATER - DAY Diana and Isaac are in the backyard, surrounded by lightweight exercise equipment. Diana can speak, but still has bandages over her eyes. Several SHOTS of Isaac helping her do various exercises. INT. SHOT OF DIANA AND ISAAC FROM MABEL'S POV IN RAMIRO'S STUDY CAMERA PULLS BACK revealing Mabel looking out at the two, while Ramiro is engrossed in paper work and his computer. MABEL She does better with him than with the therapist. (smiles) I don't know what she'd do without him. From Mabel's POV, Diana rests her arm on Isaac for support in one of the exercises. RAMIRO (not looking up from his papers) (good-naturedly) About the same thing you'd do without me. Mabel smiles. INT. CLASSROOM - JEWISH THEOLOGICAL SEMINARY - NEW YORK - DAY Isaac teaches his class, when Mabel appears outside the door's glass pane. CUT TO ISAAC AND MABEL walking down the hallway after class. MABEL She insisted. EXT. Diana, her eyes still bandaged, is helped out of Mabel's car by Isaac. EXT. ISAAC'S CAR DRIVING DOWN CITY STREETS - DAY INT. ISAAC AND DIANA ISAAC (supportively) Diana, we don't have to do this now, you know. DIANA No, I'd really like to. (takes a whiff of the air coming in through a crack in her window) (moves her head as if seeing through her bandages) Did we just pass a pancake house? Isaac turns to her side for a second and sees a private sanitation truck. ISAAC Not exactly. EXT. CARLEBACH SYNAGOGUE, UPPER WEST SIDE - DAY As Isaac and Diana get out of his parked car, we see a CLOSE SHOT of the synagogue plaque: CARLEBACH SHUL. INT. MAIN SANCTUARY, CARLEBACH SHUL Diana, Isaac and RABBI BARUCH MELTZER, a man around 35, sit around a table. RABBI MELTZER (to Diana) I admire your courage. It's phenomenal. DIANA Rabbi, I'm as determined as ever. RABBI MELTZER Well, I can consummate the conversion, but we need to wait at least till the bandages come off. The MIKVAH, the ritual bath, needs to cover every part of the body. INT. CAMPUZANO HOME, ROCHESTER, NY - DAY Diana is helping her mother make a dress. As Diana holds down the material on the table, Mabel cuts out a mold. MABEL He said next week, at the latest. DIANA I hope he's not just replacing them again. MABEL Honey, Dr. Beanstock can't tell before he actually takes off the bandages. He said the eyes may need additional medication. If they don't, the bandages are off for good. INT. DR. BEANSTOCK'S OFFICE - DAY With Diana's parents looking on, DR. BEANSTOCK takes off the bandages from Diana's eyes. With some obvious effort, Diana manages to open her eyes. DIANA I can't see a thing. (she blinks a few times, then turns from side to side) Nothing. I can't see a thing. Mabel looks uneasy. RAMIRO (puts on arm around Mabel) Mabel, the treatments aren't completed. INT. JACK LA LANNE GYM Isaac helps Diana with various exercises. Except for the fact that Isaac has to guide her along in finding the handle bars for the various equipment, Diana seems to be doing quite well. ISAAC You're getting pretty good at this, considering ... DIANA Considering what? ISAAC (laughs) Considering you couldn't do this before. DIANA (laughing) Where are you? I'd really like to hit you. ISAAC (guides her hand to his shoulder) Right here. She punches him. ISAAC Ooh, that hurt. Where'd you learn to punch like that? DIANA You're not exactly the first one I've punched, you know. ISAAC I see. INT. RESTAURANT - NIGHT DIANA AND ISAAC Diana, wearing large sunglasses to cover her bandages, and Isaac are served dinner. DIANA Isaac, you've been great. ISAAC It's been my pleasure. DIANA I don't know what I'd have done without you. ISAAC Diana, your a strong-willed person. You'd have done fine no matter what. The waiter places a bottle of wine on the table. INT. DR. BEANSTOCK'S OFFICE - DAY With Diana's parents looking on again, DR. BEANSTOCK takes off the second set of bandages from Diana's eyes. She opens her eyes. INT. A SUPPORT GROUP - SOMEWHERE IN ROCHESTER, NY - NIGHT We do not yet know what kind of support group this is. It's in a simple room with a counselor and about fifteen participants of all ages sitting in a circle. Diana is among them. One participant named KYLE is in middle of speaking. KYLE ... I've since developed a pretty good sense of where everything is in the house. COUNSELOR Kyle, tell us how long it took you. KYLE It took me only two weeks from the day I was completely blinded. Everyone applauds. COUNSELOR Okay, Diana. DIANA (a little hesitant at first) Well ... I've recently had total loss of vision. My blindness was not an accident. INT. DINNING ROOM - CAMPUZANO HOME - NIGHT Diana, Jorge, Mabel and Ramiro sit around the dinner table, all with a plate of soup in front of them. An eery silence permeates the atmosphere, as Diana holds a spoon in one hand and taps around the table for the salt with her other hand. Jorge hands it to her. DIANA (angrily) Jorge, don't hand it to me. JORGE Sorry. DIANA (throws down the spoon in disgust) How am I ever going to get this? RAMIRO (grasps Diana's hand) Listen, Diana, Dr. Beanstock says there's nothing physically wrong with your eyes ... DIANA ... then how come I can't see? RAMIRO Honey, he says the medicine could be taking its time. He says it may be nothing more than the eyes needing some activity, like any other part of the body. It could even be the shock. It just needs a little time. DIANA Well, what do you expect him to say? After all those treatments ... and ... and ... money. (angrily) What do you expect him to say? With a look of defeat, and tears in her eyes, Diana grabs a cane, lying next to her chair, and clumsily makes her way to her room. Mabel puts her hands over her face in despair. RAMIRO Mabel, she'll be okay. MABEL (obviously distressed) Ramiro, how will she be okay? Does she look okay? INT. CARLEBACH SYNAGOGUE - UPPER WEST SIDE, NEW YORK - NIGHT The only people present are DIANA, ISAAC, KAREN (DIANA'S EX- ROOMMATE), TOD AND RABBI MELTZER They watch Diana make her way in the front door as she holds on to Isaac with one hand and scans the floor with her cane in the other hand. DIANA Isaac, I'm scared. ISAAC Diana, you're doing fine. I'll be holding on to you. DIANA I don't know if I can do this. ISAAC You can do it, Diana. He pulls her gently. She follows. They start making their way down the aisle. RABBI MELTZER Excellent, excellent. (a few more step) Just one thing. As Rabbi of this synagogue, who's been here on many a holiday, I can tell you it'll be quite crowded. KAREN Well they have to walk in. RABBI MELTZER Yes, but if she narrows the swing just a little, she should make it in a lot easier. DIANA Okay. Diana and Isaac make their way back out the door, re-enter, then stroll down the aisle with a narrower swing of the cane. RABBI MELTZER Perfect. (The following dialogue takes place as Diana and Isaac slowly make their way to the podium.) DIANA (comically) Kar, sorry I couldn't make it to your wedding. I was a little tied up. KAREN (good-naturedly) That's okay. Just make sure it never happens again. Diana smiles. TOD (to Diana) We'd have left our guests at the alter to be there for you, if we knew what was going on. DIANA If I knew you guys were getting married, I would've woken up sooner. KAREN Whose gefilte fish do you want, O.U. or ... uh... (can't remember) TOD ... K. KAREN ... that's it, K. DIANA I see you guys became mavens on the kosher market. KAREN Well, it's not every day that two "goyim" (gentiles) host someone for the Jewish holidays. DIANA (laughs) That's good. And how often do you have a guest who arrives as a "goy" and leaves as a Jew? TOD (comically, to Karen) You know, she's right. We haven't had that for a while either. The Rabbi smiles. Just before reaching the podium, Isaac releases Diana's hand. Diana looks disturbed. ISAAC It's okay, you're doing fine. This is the part you do on your own. Diana stumbles the last few steps, but makes it up to the podium. With exhilaration and a bright smile, Diana caresses the felt- covered top. RABBI MELTZER (looking at Diana with pride) That's a privilege many of us don't have -- remembering the excitement of our first Rosh Hashono. INT. DIANA'S ROOM - THE CAMPUZANO HOME - NIGHT Diana sits at her desk, listening to a tape on reading braille as she tries to follow the instructions on a book written in braille. PARENTS BEDROOM Ramiro and Mabel are getting ready for bed. MABEL Well, she's certainly more upbeat lately. RAMIRO She just needed a little time. I've been saying that all along. MABEL (in jest) Are you trying to tell me you were right? RAMIRO (good-naturedly) No, I'm not trying to tell you I was right. I did tell you I was right. INT. ISAAC'S APARTMENT - BEDROOM - NIGHT The CAMERA PANS from the digital watch on his night table, which reads 3:04 AM, to Isaac, who is fast asleep. SUDDEN PIERCING SOUND OF THE PHONE RINGING Isaac pulls himself together after several rings and answers the phone. ISAAC (with expression of shock) Oh no. INT. KITCHEN - CAMPUZANO HOME - MORNING Diana, and her parents are finishing breakfast. MABEL Where's Jorge? RAMIRO He came in late last night. MABEL Oh, I hate it when he gets up at noon. RAMIRO (to Diana) So, how did it go in that Carlebach place. DIANA Great. RAMIRO No problems? DIANA No dad, I'm not having second thoughts. RAMIRO I didn't say that. DIANA Dad, I'm not having second thoughts. RAMIRO And how about Karen and Tod? DIANA Are they having second thoughts? RAMIRO No, do they have room? DIANA Sure. (sips orange juice) What about you and mom? RAMIRO How about us? DIANA Are you coming? MABEL Diana, we're not Jewish, how can we go to synagogue with you? DIANA Neither are Karen and Tod. MABEL (grabs Diana's empty plate) Are you done? DIANA Yes. DIANA'S ROOM Diana enters and makes her way to the bed, without much use of her cane. Lying down, she reaches out for the TV remote on the night table and goes though several stations before she hears something she likes. In a relaxed mood, she reaches over and presses the "Play" button on her answering machine, and hears a message from Isaac: "Diana, my mother's in the hospital. I don't know how serious this is. I'm taking the first flight out. I'll call you when I arrive." INT. EL-AL FLIGHT TO ISRAEL - DAY SHOT of Isaac nervously leafing through a magazine, without actually reading or looking at anything. EXT. BEN GURION AIRPORT - ISRAEL - DAY Isaac disembarks from his plane. EXT. HADASSAH HOSPITAL Isaac pulls up in a cab and rushes in. INT. Isaac frantically makes his way to the ICU. He finds his mother, Hellen, hooked up to a heart monitor and oxygen tank. His father, Moish, stands over her bed. MOISH (the second he sees Isaac) (relieved) Oh Isaac. ISAAC Dad, how is she? MOISH The doctor says it was mild. I don't know, to me she looked like ... I don't even want to say. He says she has to slow down. (pause) She was in middle of cooking. That's all she was doing, cooking. ISAAC Well, she definitely shouldn't be doing the heavy stuff anymore; mopping, windows. You have to get someone. (pause) Not even cooking, for now. I'll take care of the holidays. Helen wakes up. HELLEN (mumbles) Isaac. ISAAC (clasps his mother's hand) Mom. HELLEN (smiles) Isaac, you're here. ISAAC I'm here, mom. INT. DIANA'S ROOM - CAMPUZANO HOME - SEVERAL DAYS LATER - DAY Diana is on the phone with Isaac, who is now in his parents' apartment. DIANA So, how's she doing? ISAAC In the couple of days since we brought her home, she's been doing much better. She still needs lots of rest, but she gets around. (pause) How are you doing? DIANA (with some despair) I don't know. ISAAC Come one, you can't give up now. DIANA I don't know, Isaac. I don't know if I can face this alone ... ISAAC ... you're not facing it alone. Karen and Tod'll be there. The Rabbi's extremely supportive. DIANA I know, but ... ISAAC ... Diana, don't think about it. Just do it. It'll be a breeze. Just move ahead. INT. ISAAC'S PARENT'S APARTMENT - THE NEXT DAY - DAY Hellen makes it around the apartment with the assistance of a walker. The door opens; Isaac enters with two huge grocery bags full of food. HELLEN Isaac, what's with all this food? They don't have food in the hotel? ISAAC Ma, we're not in the hotel yet. We need food for the house. (puts the groceries down) Ma, I told you, this is on me. Moish walks in from another room. HELLEN Okay, but I don't want you to waste your money either. MOISH Hellen, leave him alone. He knows what he's doing. (comically) He lives in New York. You forgot? HELLEN So? We used to live in New York. MOISH So? We didn't know what we were doing? HELLEN Ah, Moish, you're always mixing everything up. MOISH Hellen, let Isaac do the shopping. The doctor said you should relax. HELLEN I'm relaxed, I'm relaxed. EXT. CAMPUZANO HOME - SEVERAL DAYS LATER - DAY Tod's car is parked out front; Tod is leaning against the side of the car, Karen is sitting in the passenger's seat with the door open. They both appear to be waiting for something. KAREN I had a feeling this would happen. INT. DIANA'S ROOM - DIANA AND MABEL Diana is lying on her bed, looking very despondent. Mabel stands besides her. MABEL Diana, Karen and Tod are waiting. DIANA I told them not to pick me up. MABEL They're not leaving without you. Now come on. Diana doesn't budge. The door opens; Ramiro peaks his head in. Mabel motions for him not to come in. He pulls his head out and closes the door. MABEL How about if dad and I go with you? (Diana doesn't respond) Diana, you've been looking forward to this since college, how can you just quit like this? DIANA You've been against it since college. Why the sudden change? MABEL This isn't about what I want. This is about a goal, your goal. Quitting was never part of you; don't make it part of you now. INT. SUITE IN THE DAN PANORAMA HOTEL - TEL AVIV - ROSH HASHONO EVE The is one of Israel's five star hotels, with 500 rooms. (Keep in mind that Israel's time zone is seven hours later than New York's.) Isaac and his parents are formally dressed for synagogue, just finishing their final touches of fixing ties, grooming hair, getting lint off jackets, etc. Hellen is apparently feeling much better. MOISH Isaac, we only live a few blocks. I feel a little guilty. ISAAC Dad, stop worrying about the expense. It's not often that I get to treat you and ma. Besides, ma got better just thinking about this little vacation. MOISH Little? HELLEN (admiring the drapes) I can't get over these drapes. You think maybe, if we don't take any towels ... MOISH ... no, Hellen, we can't take the drapes home, and we don't need towels either. EXT. OPEN SEA SOMEWHERE OUTSIDE TEL AVIV Abu's TWO SEA PLANES loaded with explosives are hovering on water along side the YACHT full of electronic gear. Abu and several men are on the yacht; each of the planes has a man at the controls. ABU (shouts into a radio) Go. One of the sea planes takes off and flies low, almost touching the water. INT. ROOM IN A TEL AVIV HOTEL One of Abu's men, peering out a window with binoculars, answers his cell phone. INTERCUT CONVERSATION WITH ABU. ABU The first plane just took off. MAN I see the target very clearly. A SHOT OF THE DAN PANORAMA HOTEL, where Isaac and his parents are staying, from the binocular's POV. CAMERA ZOOMS INTO THE HOTEL, emphasizing that this is the target. Continue...