* 1-6. DELETED. 1-6. * 7. EXT. SYSTEMS BACKUP BUILDING DAY. 7. A grey limo stops before the entrance of a modern two-storey building complex that has the look of a high-tech bunker; windowless or with the windows disguised in the design, it has that Los Angeles look of expensive impenetrability. Because of its completely different nature, there's no danger of associating this exterior with the high-rise interior of the previous scene. The area's deserted. No cars in the parking lot before the doors. From behind the wheel of the limo steps JEAN-DANIEL, a big man in a dark chauffeur's cap and uniform. Big? He's enormous, and hard. He looks as if he beats up Gladiators for amusement. His face is like granite and his hair is cropped to a stubble; in the outsize uniform and dinky chauffeur's cap he's like Eric Campbell in the Chaplin movies. He carries an attache case around to the rear passenger door, which he opens. From the rear of the limo steps NEVILLE, the missing chief executive. His wary eyes are on JEAN-DANIEL all the time. He's dishevelled, and looks as if he's been roughed-up without actually being harmed. His collar's bent, his glasses-are broken, his suit looks as if it's spent some time on a dustcart by mistake. JEAN-DANIEL merely looks toward the building's extra-tall doors, which automatically open. Then he makes a very small gesture indicating for NEVILLE to precede him. NEVILLE obeys. A man in terror of his servant. 8. INT. FACILITIES CORRIDOR. SYSTEMS BACKUP. DAY. 8. Clutchinq his attache case, NEVILLE walks ahead of JEAN-DANIEL. He glances to either side as he goes. The interior is crudely finished and minimally-lit, but full.y-furnished with suites of desks, chairs, filing cabinets, computers ... Much of the stuff is still in its wrappings, and nothing's set up for immediate use. A windowless office-equipment necropolis. 9. 9. A well-lighted open area right at the heart of the building. In this space stands some rather more elegant furniture and a lot of removers' packing cases. A sea of woodshavings on the floor. PATRICK MARCEL, an extremely well-qroomed, well-dressed young Frenchman, is removing large pieces of modern art from their packing cases and propping them all around in a very temporary form of display. On chairs, against crates ... it's like, get it all out and only then decide where it goes. He's contemplating one piece as NEVILLE and JEAN-DANIEL approach, but then he looks up and sees them. He's immediately bright and effusive. PATRICK Oh, Mr Neville. Welcome. Thank you. Thank you for coming. French he may be, but both he and JEAN-DANIEL speak perfect unaccented English. NEVILLE I wasn't given a choice. PATRICK What? He's about to say more, but then looks closely at the state of NEVILLE. PATRICK (indignant) Jean-Daniel! This is inexcusable. JEAN-DANIEL shrugs. PATRICK He's an oaf and he misunderstands. What can I do? I can't fire him, he's family. I apologise. I'm Patrick Marcel. Iie offers his hand, which NEVILLE makes a point of ignori.ng. NEVILLE Please let me go. PATRICK Not in such a state. NEVILLE I'm late for an extremely urgent meeting. PATRICK The one with the people * you're hoping will refinance * your company, no? Yes? NEVILLE (shocked) How do you know about that? PATRICK Oh. Big secret. I'm in the business of knowing big secrets. I'm in venture capital myself. Believe me. I only had you brought here so I could make you a better offer. He hands NEVILLE a single piece of paper. As NEVILLE quickly scans this and takes it in, JEAN-DANIEL removes his chauffeur's cap and moves around to half-sit on an expensive desk or table. NEVILLE This would give you overall control of the company. PATRICK * But the company would be * * saved from extinction. And * you'd still be running it. At double the salary. NEVILLE swallows hard. NEVILLE What happens if I say no? PATRICK makes an open-handed qesture. PATRICK It's a serious offer, Mister Neville. I'm a serious player. But if you don't want to take it ... then you can go. Face set, NEVILLE hands the paper back. He glances at JEAN-DANIEL. NEVILLE Will he come after me? PATRICK No. NEVILLE You'll be hearing from my lawyers about your methods. Squaring himself and regaining some of his dignity, he turns and walks away. Right down the centre of the corridor by which he entered. Moving without haste, JEAN-DANIEL gets up and looks into one of the packing cases. Then he reaches inside and brings out ... A bazooka. But not just any crude old bazooka. This is a sleek, modern, programmable one. After inputting a couple of things onto its side panel he settles it onto his shoulder, and sights it on the departing NEVILLE (we don't look through the sight). NEVILLE, unsuspecting, takes a look at his watch as he walks. He starts visibly. NEVILLE Oh, Lord. He starts to turn. He sees JEAN-DANIEL getting the bazooka sighted. PATRICK is donning ear protection. Dignity forgotten, NEVILLE turns to flee ... Just as JEAN-DANIEL fires. Big explosion in the corridor. Nothing could survive it. JEAN-DANIEL is sticking his little finger in one ear and waggling it as he lays down the bazooka. PATRICK is remonstrating with him, indicating that he should have worn ear protection too. Seen in the distance down the corridor, overhead nozzles suddenly come on and spray dry-ice vapour down onto the raging fire. 10. OPENING TITLES. 10. 11. INT. GIZMOS. DAY. 11. BECKETT and ROS in conversation. ROS has been explaining somethinq, and BECKETT's ascertaining that he's got it right. BECKETT So ... he never turned up to * the meeting to refinance his * * company. And nobody's * heard from him since.