THE SHADOW GAME

-- THE SHADOW GAME --

EXT. CIA BLACK SITE - OREGON WILDERNESS - NIGHT

A matte black SUV 4x4 reverses, skids to a stop. The DRIVER bails out, runs to the back of the vehicle.

The SUV is inside the perimeter of a remote outpost, high on a wilderness ridge. Surrounded by razor wire. Signs warn: “No Trespassing! Danger! Deadly Force is Authorized!”

The Driver drops the tailgate, yanks out a wheeled gurney designed to secure dangerous people. He pushes it toward a small-ish bunker, glances nervously at the nearby mountains and woods. Why is this guy so panicked?

-- A raging FOREST FIRE is moving his way, fast.

INT. CIA BLACK SITE - COMMAND CENTER - CONTINUOUS

The Driver bounces the gurney inside.

A CIA CONTRACTOR smashes racks of high-tech equipment with a wrecking bar. A MED-TECH at a monitoring station, shouts into a radio microphone:

STATIC. The Driver arrives beside her.

He abandons her, runs to the Contractor.

2.

The Contractor drops the wrecking bar and helps Driver hustle the gurney to a utility corridor.

The Med-Tech scans a monitor where MEDICAL INFO overlays THERMAL IMAGES from a small cell where a LONE FIGURE sleeps on a bunk. This place is a jail, with only one prisoner.

INT. UTILITY CORRIDOR - CONTINUOUS

Driver and Contractor push the gurney to a thick steel door.

INT. HOLDING CELL - CONTINUOUS

Dim light. SOOTHING MUSIC from HIDDEN SPEAKERS. Bean bag chair. Toilet and sink. Wall poster of a tranquil seascape.

SAMUEL (20s) sleeps on his bunk, naked under a plain sheet, expression blank, eyes-closed, pupils in fast REM. They stop moving and his eyelids crack -- he’s awake.

As Samuel regains consciousness, WE HEAR a FAINT BUZZ. Like fluorescent lights or insects. It’s his tinnitus. An audio clue that we’re now perceiving the world from Samuel’s P.O.V.

As his eye’s widen, the light on his face gets eerie. A faint vignette encroaches on the corners of our frame. The colors of Samuel’s world are lush and organic, wet. Visual clues to clarify that we’re inside the man’s unique point of view.

Still on his side, Samuel regards a tattoo on his right forearm. A sultry image of a primal demoness: Lilith.

Samuel regards a shadowy corner of the cell, squints at the vague contours of an edge-lit figure. It’s the demon, his tattoo in the flesh.

LILITH (20s), red skin, and green eyes. Two black horns atop her head. Wild curls of dark hair. A barbed tail.

3.

Nude body cloaked in shadow and soft focus. Viewed with the chaste regard of a besotted lover. Romantic, yet scary.

Lilith only exists in Samuel’s head. Only he can see her.

And only he can hear her voice. She speaks in an ancient Semitic language, Amharic. If you know it, you’ll understand. If not, you’ll get the gist from the passion of her tone:

Samuel is roused by her voice.

INT. UTILITY CORRIDOR - CONTINUOUS

The Driver glances into the cell through a slim band of observation glass.

He works on the door’s keypad lock while the Contractor checks a stun-baton, triggers a -- ZAP!

INT. HOLDING CELL - CONTINUOUS

Samuel forces himself to sit up. His muscled, back is tattooed with black feathered wings. Keloid scars under the ink texture the design. He’s no stranger to pain.

Lilith appears behind him, whispers:

THE CELL DOOR - SLOW-MOTION

Samuel watches the door swing open, and the two figures charge. Lilith quick moves around Samuel, out of synch with his slow-motion, begs him to rise, but he’s too weak.

ZAP! - REAL-TIME

The Driver punishes Samuel with the BATON. Samuel collapses to the floor, quivers in shock. The Driver ZAPS him again.

SAMUEL’S P.O.V. - SLOW-MOTION

4.

On his back, looking straight up at Lilith. She hovers near the ceiling, her own wings spread. She wails in despair at the sight of her lover being abused and weeps a molten tear.

This drop of fire rolls off Lilith’s cheek and falls toward Samuel. He stares, tracking the descending flame dot, watching it pass between his relentless attackers and --

The fiery tear lands between Samuel’s lips where it’s absorbed. His lips curl into a beatific smile.

BACK TO - REAL-TIME

Samuel springs into action. A trained fighter, his legs sweep the men off their feet. They drop. He rises.

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel looms over his enemies. His tattooed wings erupt from beneath those keloid scars, tearing out through his skin as they unfurl, whipping flecks of blood across the room.

Samuel looks to hovering Lilith, watching her blood-splattered face fill with joy. She laughs, fangs exposed.

BACK TO - REAL-TIME

The Med-Tech enters the cell clutching the wrecking-bar, eyes wide in fear. She doesn’t see any black wings, blood, or demon lover. Just Samuel standing naked over her comrades.

As the men scramble to their feet, Samuel pivots and yanks the wrecking bar from her grip. He swings it like a battle axe, drops the men and confronts the terrified Med-Tech.

Samuel hesitates, speaks with calm conviction:

Samuel speed swings the weapon her way and --

CUT TO: BLACK

FADE IN:

EXT. WASHINGTON D.C. - DAY

TO ESTABLISH.

5.

INT. WASHINGTON D.C. - COURTNEY’S APARTMENT - BEDROOM - DAY

The city is visible through a balcony window. The unmade bed tells us the morning has just begun. No personal items on display. No family photos. The lone resident never bothered to settle down and decorate. She’s a woman of ambition --

COURTNEY TASCHLER (30s) arcs up into the cobra position. She yoga's on the floor. Fit and strong in her Lulu, Court pushes out a disciplined exhale, sucks in a deep breath and rises to her feet. Master of mind, body, and spirit. Look out, world.

INT. COURTNEY’S APARTMENT - KITCHEN - DAY

Court makes her morning smoothie, fruits, veggies, and health powders precisely arranged. She adds them to the blender by rote, not looking, eyes fixed on a nearby laptop.

ON THE LAPTOP SCREEN are LIVE VIDEO feeds from several NEWS CHANNELS. None of them play live audio, just CLOSED CAPTIONS.

Court triggers the BLENDER as she quick-scans the text --

-- A story about a FOREST FIRE in Oregon. One about REBEL ATTACKS in Madagascar. The arrest of a State Department WHISTLEBLOWER. And a NEW CELLPHONE release from Babbo Tech.

Court reacts to that last one like a teenager would to a lame parent, rolling her eyes and shaking her head.

She pours her smoothie into a travel mug, sips through a straw, watching the LAPTOP to see the NEWS CHANGING --

-- The arrest of the WHISTLEBLOWER is now breaking on ALL CHANNELS with supporting maps and footage, the whistleblower story is now being CONNECTED TO THE MADAGASCAR REBELS.

Court grins, she’s been waiting for this:

She scoops up her cellphone and triggers Spotify. “HAPPY” by Pharrell, erupts from the phone’s tiny speakers. She happy dances around the kitchen and slides into the bedroom.

INT. COURTNEY’S APARTMENT - COURTNEY’S BATHROOM - LATER

“HAPPY” Court bops to the music as she finishes her makeup in the mirror, sculpting a take-charge look with eyeliner.

She retrieves a SMALL NECKLACE from the counter --

6.

-- It’s a hand-me-down CATHOLIC MEDAL featuring Mary, the Queen of Heaven and Earth, crushing a serpent underfoot

She gives it a kiss and puts it on.

INT. COURTNEY’S APARTMENT - COURTNEY’S BEDROOM - LATER

“HAPPY” Court’s in-front of a full-length mirror, aligning a three-piece suit. Fashion savvy with fabric and cut. She clips an ID to her lapel, a PHOTO-BADGE from THE CIA.

INT. COURTNEY’S APARTMENT BUILDING - HALLWAY - LATER

“HAPPY”. Court locks her apartment door, turns to find a FED-EX COURIER approaching with a SMALL PACKAGE.

Court doesn’t respond, points to her photo badge, smug.

The Courier tosses her the box, not sticking around to watch as she barely gets her hands on it.

Court checks the send address -- “BABBO TECH, MOUNTAIN VIEW, CA.” she deflates. No more “HAPPY”. We saw her react to that TV AD, and now this? Court’s clearly got issues with Babbo.

INT. VIRGINIA - CIA SHUTTLE BUS - DRIVING - DAY

Court rides with a dozen CIA COMMUTERS, opens the package --

-- INSIDE is the LATEST CELLPHONE from Babbo Tech, still wrapped in the retail packaging. Next gen style.

Court’s not impressed. The EMPLOYEE beside her is:

7.

Court shrugs, zips the phone into a pocket of her GO-BAG.

EXT. VIRGINIA - CIA CAMPUS - DAY

TO ESTABLISH. The shuttle arrives through the main gate.

INT. CIA CAMPUS - INTERNAL AFFAIRS DIRECTORATE - DAY

Court enters the cubicle warren, strides across the room toward her desk, like she owns the place. CO-WORKERS glance up from computers and phones, tracking her warily.

She reaches her cubicle, finds a BURN BAG atop her desk. The CIA uses disposable bags to destroy classified material. She waves over her ASSISTANT from the adjacent cubicle.

JEREMY (20s), plain ZARA suit. Scared of his boss, eager.

8.

Court is stressed-out, hates push-back, gets fierce.

Jeremy grabs the bag, jogs to a panel in the wall. It’s like a garbage chute, shoves the bag in, sends it to a furnace.

She sits at her desk, primps her hair for the biometric camera as she logs into her COMPUTER. Jeremy updates her:

Court rapid-fire types on her computer, pulls up CLASSIFIED INFORMATION about the mission to Oregon --

-- ON HER COMPUTER SCREEN are PHOTOS of the site, shortly after it was built. Some of the DATA FIELDS haven’t been filled in. “MISSION:___ DIRECTORATE:___ SUPERVISOR:___ ”

9.

Court’s confused, calls back to Jeremy:

Curious, Court leans in, typing an info request --

-- She gets a PROMPT to enter her security clearance. Types, “S5”. A WARNING pops up; access is RESTRICTED to “S8”.

Court’s confused. She’s never heard of an “S8” clearance.

Court doesn’t see a FIGURE sneak up and surprise her with a kiss on the cheek. She recoils from:

TED WEBSTER (30s), sweater and tie, cocky. Yale for life.

He tosses paperwork on her desk.

Court grabs the paperwork, shakes it at him.

10.

Court and Ted react as an exec DOOR OPENS. Their bosses exit, scan the room, and head for Court’s cubicle --

BRAD BENNETT (60s) is Court’s boss. Polyester suited. Thick glasses. Connecticut. Brad’s a weary veteran of espionage.

GAIL HANNIGAN (50s), Ted’s charismatic boss. Chic hair and attire. Southern. A CIA vet pushing her way to the very top.

Court rises to meet them:

Court’s mortified. Hannigan’s amused. Bennett cares not.

This is what Court’s been waiting for, enthusiastic:

11.

All eyes go to Court, who steels her nerve.

Court’s revelation stuns the others. Ted’s confused:

Off Court’s look -- Guilty as charged.

INT. CIA - SECURE CONFERENCE ROOM - MOMENTS LATER

Court sits across from Ted, Bennett, and Gail. Court presents as very confident for someone who just confessed to a crime. Only we can see her foot bouncing nervously:

12.

13.

Court waits for them to get it. Ted’s clueless. Not Bennett:

Court can’t meet Ted’s gaze, focusses on Gail.

Court’s foot stops bouncing. She takes the win. Refuses to look over at Ted, who regards her like he doesn’t know her.

INT. CIA - INTERNAL AFFAIRS DIRECTORATE - DAY

Court stands with Bennett as Gail leaves with Ted, who looks back, unsettled by Court’s duplicity and dark morals:

Court wonders if he’s throwing her words back in her face.

14.

Court practically skips back to her desk, nearly giddy at being praised for her duplicity. There’s no stoppin’ her.

Jeremy meets her --

Court remembers, sees Bennett shut his door. Tells Jeremy:

EXT. OREGON WILDERNESS - DAY

TO ESTABLISH. The forest is charred for miles. Smoke rises in the distance where the fire still burns. A CIA HELICOPTER flies toward the BLACK SITE.

EXT. CIA BLACK SITE - HELIPAD - DAY

The building is scorched but intact. Court walks toward it from the now parked helicopter. She’s dressed in chic tech wear, with her ever-present go-bag slung over her shoulder.

Court’s followed by her team for the day --

GONZO (30’s), experienced, carries ruggedized gear cases.

LUNA (20’s), new, hurries after, also carrying hard cases.

A PARK RANGER steps away from his truck to greet them.

Court ignores his offered hand, keeps walking toward the entrance of the building. She wants to get in and get out.

15.

Court is confused. She thought the site wasn’t active.

Court waves Gonzo and Luna ahead, stops with the Ranger.

-- Court directs his attention to a charred but legible sign, “Deadly Force is Authorized!” She heads toward the building.

INT. CIA BLACK SITE - COMMAND CENTER - CONTINUOUS

Flashlight beams pierce darkness as Gonzo, Luna, and Court enter, wary and careful in the ruins. Fire swept through this place, destroyed most of the equipment. Hot spots smolder.

Gonzo and Luna set down their cases.

Gonzo angles his light at the ceiling, indicates a cable caddy. Court starts after them. Gonzo calls:

16.

INT. UTILITY CORRIDOR - CONTINUOUS

Court enters, light probing, finds the melted gurney. She points her light down the hall. The cell door is closed.

Court moves to what she thinks is the server room. Shines her light at the viewport -- charred over by the fire. She checks the keypad, battery powered, enters a code.

INT. HOLDING CELL - CONTINUOUS

Court opens the door, smells something awful. She sweeps the room with her light. The fire didn’t get in here. The bed’s intact, poster, beanbag, and --

-- THREE DEAD BODIES on the floor. Stripped. Arranged on their knees, shoulder to shoulder, away from Court as if to pray toward the wall.

Court gasps, shocked; her light trembles. She touches her free hand against her Mary Medal, steps closer, angles the light for a better look --

-- The bodies have been decapitated. In fact, their arms have been arranged, so the corpses hold their own severed heads, forcing dead eyes to stare at the wall.

Court angles her shaking light to see they’re looking at an ancient Amharic name scrawled in blood --

ሊሊት

Court wonders what kind of crazy shit happened in here.

TIME CUT TO:

THE FLASH of Court’s smartphone camera illuminates the bloody runes. She tries to keep her hand steady, takes more pictures of the carnage, the symbols, bodies, then:

Court startles as Gonzo enters behind her. Before she can intervene, his flashlight finds the bodies:

17.

Gonzo strains to compose himself, turns to go:

Gonzo pulls out a DSLR-sized piece of tech, passes it to Court and exits. She warns:

As Gonzo disappears into the corridor, Court HEARS HIM PUKE. She tries not to retch in sympathy, forces herself to work.

She kneels beside the bodies with the SCANNER, repulsed as she moves close, shaking as she puts the HIDE’s eye-cups over the dead eyes of the decapitated MED-TECH.

Court records the dead woman’s iris prints, careful not to jostle the severed head, breathing through her mouth. Gross.

She repeats the process with the head of THE DRIVER. Goes to CONTRACTOR, but knocks his head over. It rolls at her and she scrambles clear, freaked.

Court slides her foot upside the head, pushes it across the floor, wedging it against the wall, shifts her foot to angle the eyes. Grossed out, she HIDE scans the iris prints.

Court steps back, lets the head roll free, relieved, then:

18.

Court spins to find Gonzo offering a THERMITE CHARGE.

Court trades the HIDE scanner for the device, sets it down close to the dead bodies.

Court sets the charge, fingers shaking, despite her bravado.

Court triggers the countdown timer, “00:15”, hurries away from the charge, “00:13”, pushes Gonzo to the door, “00:11”

Court shoves Gonzo into the corridor, follows behind. “00:07”

INT. UTILITY CORRIDOR - CONTINUOUS

Court SLAMS the door closed but it doesn’t latch, grabs the back of Gonzo’s jacket, yanks him back to brace the door.

19.

Gonzo pushes against the door with her -- WHOOMPH! The door quivers, stays shut. Thermite is all about heat, not force.

After a beat, Luna appears at the end of the hall, worried.

Gonzo doesn’t answer; Court shoves him forward, rough.

EXT. CIA BLACK SITE - HELIPAD - DAY

Park Ranger intercepts Court, Gonzo, and Luna on their way to the helicopter. Court waves the pilot to start the engine.

Court keeps walking, still shaken.

The Ranger doesn’t care, starts back for the building; Court goes after him, waves Gonzo and Luna ahead to the chopper.

20.

Court reverses course for the chopper, shouts back:

The Ranger stops, unsure, watches Court reach the chopper.

Court joins Gonzo and Luna as they load into the chopper.

Court pats his shoulder, confident. Gonzo nods, freaked-out.

Park Ranger gives-up and heads for his vehicle.

EXT. TRUCK STOP - NIGHT

A hub for inter-state travel. The sun goes down, lights pop on. There’s a mix of EIGHTEEN WHEELERS, RVs, and MINI VANS. As they fuel-up, their OWNERS visit the snack shop or restaurant. You might notice the Black Site’s SUV, parked.

INT. TRUCK STOP - MEN’S BATHROOM - NIGHT

A muscular REDNECK TRUCKER, dressed in workwear, waits impatiently for whoever’s using the only private shower.

INT. TRUCK STOP - SHOWER - CONTINUOUS

Samuel’s under hot water, surrounded by steam, washing dried blood and grime from his body. He attends to the wrecking-bar, scrubbing the blood from its pointed pike and blade.

SAMUEL’S P.O.V. - SLOW-MOTION

Lilith appears in the steam behind him, puts her hands on his body. Samuel’s aroused by her touch, sets the bar down, anticipating sexy time.

BACK TO - REAL-TIME

Harsh POUNDING on the outer DOOR ruins the mood. Frustrated, Samuel shuts off the water and... picks up the wrecking-bar.

21.

INT. TRUCK STOP - MEN’S BATHROOM - MINUTES LATER

Samuel finishes putting on the Redneck’s workwear. He looks to the open door of the shower room where --

-- Lilith gorges on the blood of the dead trucker.

WE SEE the naked corpse alone in the stall. Samuel shuts the door and heads out.

EXT. TRUCK STOP - GAS PUMPS - NIGHT

Samuel, clean, dressed, holding the wrecking bar to his side, scans the pumps and parking lot for a new ride.

-- He could take the HATCHBACK that COLLEGE GIRL is fueling.

-- Or maybe the PICK-UP TRUCK from those local TEENS.

-- A MINIVAN where a SINGLE MOM handles unruly KIDS.

Samuel starts toward the hatchback.

The college girl is unaware she’s marked for death. Done pumping gas, she moves to clean the windshield.

Samuel closes in, something on the truck stop roof catches his eye and he stops --

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel squints at a FIGURE on the roof, crouched in the darkness. The size of a man, but the outline’s rough like foliage. The face is obscured, red eyes like lasers.

Samuel watches the roof as the figure rises from a crouch. It appears to be a man clad in a ghillie suit. Burlap straps of cloth and twine stitched with leaves and twigs, ominously camouflaging the hulking shape. This is THE HUNTER.

Like Lilith, Hunter exists only in Samuel’s head.

Hunter’s out of synch with the slow-motion world, easily makes the ten-foot drop from the roof, lands in-front of Samuel without a word, stock still.

Samuel is baffled, unsure of what to do. His head aches, tinnitus buzzing. Lilith suddenly appears at his side and drags him away toward the entrance of the snack store.

BACK TO - REAL-TIME

22.

The college girl drives away, paying no attention to Samuel in the background staggering into the snack shop, bewildered and alone in the real world.

INT. TRUCK STOP - SNACK SHOP - CONTINUOUS

Samuel lets Lilith pull him inside, stops at the window, looks at the gas pumps --

-- Hunter’s in the same spot, staring at Samuel, unmoving.

The CUSTOMERS and CASHIER pay no attention to Samuel. As far as they’re concerned, he’s just a guy looking out the window.

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel notices another creepy FIGURE by the pumps, moving out of synch, around the minivan mother and her kids.

A man wearing a colored waistcoat, trousers, suspenders, bow tie, oversized shoes, and a weird hat with bells. WTF?

THE CLOWN smiles at Samuel and waves.

BACK TO - REAL-TIME

Samuel struggles to process what he sees. Apparently, he’s comfortable having a demon lover and killing people. But these apparitions are too much. He turns away from the window, only to be confronted by --

SAMUEL’S P.O.V. - SLOW-MOTION

-- A FIGURE in biker leathers, wrapped in shackles, a BDSM lock-down hood covers their face -- This is ROPES.

BACK TO - REAL-TIME

Samuel stumbles back, knocks over a kiosk. As the cashier yells, Samuel runs out of the store.

EXT. TRUCK STOP - GAS PUMPS - NIGHT

Samuel exits, doesn’t know where to go.

SAMUEL’S P.O.V. - SLOW-MOTION

Hunter and Clown move toward him, slow and steady.

Ropes exits the snack store, also coming after Samuel.

Samuel backs away from the terrifying trio, grateful as Lilith appears behind him with supporting hands, whispering in that language we don’t understand:

23.

Lilith eases Samuel to the ground. He sits on the curb, watching as she flies over to intercept the approaching trio.

BACK TO - REAL-TIME

The Truck Stop customers see none of this. Just Samuel alone on the curb, head in his hands.

Samuel clutches his skull, looks at Lilith and the trio as they appear to be having a calm, nonverbal conversation.

Samuel looks up to see a trucker approach from the store.

BUDDY (50s) carries a bag full of road snacks. He steps in front of Samuel with empathy and concern:

Samuel peaks around the legs of the do-gooder to see --

-- Lilith in conversation with the spooky trio.

Samuel looks up at this friendly figure.

-- Hunter, Ropes, and Clown suddenly appear behind Buddy.

Samuel scrambles to his feet, finds Lilith at his back.

Buddy only sees nervous Samuel rise and back away:

-- Samuel watches Hunter, Ropes, and Clown part so Buddy can walk away. Lilith whispers something unheard in Samuel’s ear.

24.

EXT. TRUCK STOP - PARKING LOT - CONTINUOUS

Buddy isn’t far when Samuel calls after him:

Buddy turns back to find Samuel approaching with a wholesome smile, benign, carrying that wrecking bar down at his side.

Buddy nods and resumes walking. Samuel follows.

THEY ARRIVE AT BUDDY’S BIG RIG --

25.

A TRUCK AND CONNECTED TRAILER filled with 500 SNORTING HOGS.

As they move to get aboard, the hogs whine at Samuel, picking-up on the guy’s violent vibes. Buddy doesn’t notice. Too bad.

INT. BIG RIG CAB - PARKED - MOMENTS LATER

Buddy takes the wheel and STARTS THE TRUCK. Samuel settles into the passenger seat, a central console between them.

Buddy cues the STEREO, a SPOOKY COUNTRY TUNE called “CREEPIN” by Eric Church. As he sings along to the twang, Samuel glances to the outside mirror on his right --

-- In the reflection, Clown’s sad face is visible, peering through trailer slats. He’s trapped, riding with the pigs.

-- Samuel watches Hunter’s bulk climb up into position between the truck’s cab and trailer, red eyes shining.

Samuel looks ahead as Buddy gets the big rig moving.

26.

-- Ropes peek down into the cab through the windshield, hitching his ride on the roof.

-- Samuel is happy to discover Lilith has appeared, perched on the console between him and Buddy.

-- As the demoness slides into Samuel’s lap, he lovingly strokes her horns, gets cozy for a very odd road trip.

EXT. TRUCK STOP - CONTINUOUS

The big rig drives off. Buddy visible behind the wheel. Samuel on the passenger side. Nobody else aboard.

INT. REGIONAL AIRPORT - RESTAURANT - NIGHT

After hours. A few CUSTOMERS. Gonzo and Luna at a table, glance at Court, who’s alone in a back booth --

-- cleaning the table with a Clorox wipe. Done, she lays out her CIA ISSUE LAPTOP, HIDE scanner, CIA SMARTPHONE.

Gonzo stares at his tray of fast food, dead body memories kill his appetite. Luna chows on a burger, unaware.

Luna stops eating, nervous. They shouldn’t openly discuss classified work. Luna looks over. Did Court hear them?

ACROSS THE ROOM - IN THE BACK BOOTH

Court checks her hair as the laptop scans her biometrics --

-- Identity confirmed. She’s logged in to a CIA network.

27.

Court plugs the HIDE scanner into the laptop --

-- Data imports, ID PHOTOS of Driver, Med-Tech, and Contractor appear on her screen. ID’ as facility personnel.

-- Strange, there is another ID, but the PHOTO is REDACTED. The picture is totally covered. Could this be the prisoner?

-- Court is annoyed the only info under each photo is a TEN DIGIT NUMBER. The screen gives her two options --

-- “REQUEST ACCESS?” or “UPDATE STATUS?”

Court thinks about this for a beat, clicks --

-- “UPDATE STATUS?” And types, “DECEASED”

She regards that long number again and closes the prompt.

ACROSS THE ROOM - AT THE TABLE

Gonzo leans toward Luna, quietly:

Luna eats and talks:

Luna smirks at his inability to lie.

28.

Luna waves her burger in Gonzo’s face, he recoils. She laughs until he stifles a retch, bolts for the bathroom. Now Luna is nervous, glances over to meet Court’s hard gaze.

ACROSS THE ROOM - IN THE BACK BOOTH

Court breaks her stare with Luna to regard the laptop --

-- The PHOTOS she took in the cell are on display. The DEAD BODIES and BLOODY WRITING:

ሊሊት

Court highlights the symbols and runs a translation --

-- They identify as Amharic, then English: “LILITH”

Court highlights the word and runs an information search --

-- The screen fills with BACKGROUND CONTENT ABOUT LILITH, an ancient mythological creature. STOCK IMAGES are included, primitive historical depictions of Samuel’s companion.

Court scrutinizes the text, picks out details like --

-- “BIBLICAL FIGURE”, “SHE-DEMON”, “FIRST WIFE OF ADAM”

-- “HER HOUSE SINKS DOWN TO DEATH, AND HER COURSE LEADS TO THE SHADES. ALL WHO GO TO HER CAN NOT RETURN. AND FIND AGAIN THE PATHS OF LIFE. PROVERBS 2:18–19”

As Court reads this, she absently touches her Catholic necklace for comfort, laughs at herself for getting spooked:

Court’s about to disregard all this nonsense when she notices ONE SCRAP OF DATA on her screen --

-- An official CIA document where the only thing that’s not redacted is -- a familiar ten-digit number. The same number that was attached to the ID photos of the dead trio.

Court highlights the number and runs a personnel search --

29.

-- She’s rewarded with a CIA ID PHOTO of a distinguished man in his sixties, “DR. PAUL FOSTER”, “RETIRED”. No more info.

-- “REQUEST ACCESS?” or “UPDATE STATUS?”

Court chooses neither. With her “S5” clearance, she gains access to the CIA’s employee pension and benefits section --

-- types the man’s name and immediately gets his ADDRESS.

Court ponders whether to pursue this. Will she take her own advice to the Ranger about the consequences of curiosity?

ACROSS THE ROOM - AT THE TABLE

Gonzo has rejoined Luna, sips water to get composed:

Before Gonzo can respond, Court arrives at the table with her go-bag and packed roller, ready to travel.

30.

Court heads off toward ticketing.

Luna doesn’t push, takes his uneaten French fries.

INT. REGIONAL AIRPORT - TERMINAL - LATER

Court steps from a counter, ticket in hand, scans for her departure gate, notices a TELEVISION at the AIRPORT BAR --

-- ON THE TV, a News Conference in progress. PRESIDENT CRANDALL (60’s) speaks directly to the TV camera:

Excited, Court steps close enough to watch and listen:

Court beams -- Holy shit! She affected U.S. Foreign Policy! With a spring in her step, she moves on:

Her CELLPHONE BUZZES, sees it’s Ted, answers:

BEGIN INTERCUT:

31.

INT. WHITE HOUSE - WEST WING - NIGHT

Ted’s at his desk. As he talks to Court, he watches his boss, Gail, watching the Press Conference on a TV in her office.

Court strolls through the terminal:

Ted doesn’t respond, then:

32.

Court worries Ted might not support her move:

WE SEE Ted’s holding the DOCUMENT he showed Court that morning, the one officially approving their relationship.

Ted moves the document toward a nearby PAPER SHREDDER.

END INTERCUT:

INT. REGIONAL AIRPORT - TERMINAL - CONTINUOUS

Court HEARS the SHREDDER, knows what it means. And if she had any doubt, the LINE GOES DEAD without Ted saying “Goodbye.”

Court takes a moment to process how another relationship has fallen prey to her ambition. But next week, she’ll be seeing Gail at the White House. And level-up. Like she always does.

Court continues on with her bags, unshakable.

EXT. INTERSTATE - REST AREA - DAWN

The sky glows as the sun rises above endless forest. The interstate cuts through the trees, traffic almost zero.

A pig wanders across the road. Then another. And another.

Buddy’s Big Rig is parked in a rest area, trailer doors wide. Pigs trickle out of it, amble around the vehicle.

Buddy’s face, eyes wide, mouth agape, head severed. Held in the hands of his propped-up torso. So he can stare at --

33.

-- Samuel standing a dozen feet away, shirtless. His tattooed back on display as he reaches toward the heavens.

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel unfurls his wings, lets them flutter. His face fills with waves of ecstasy. He lowers his hands to his waist, where he finds the top of Lilith’s head.

As she fellates him, he strokes her ebony horns. Lilith stops, leans around Samuel, looks toward dead Buddy.

Hunter stands atop the big rig’s cab, targets wandering pigs with laser eyes. Clown juggles bowling pins for the pigs. Ropes paces near the big rig, gestures at Lilith.

BACK TO - REAL-TIME

Samuel loses his joy rising moment, returns to reality. He buttons his pants and turns from the sunrise to see --

-- Lilith with Hunter, Clown, and Ropes, having one of their silent conversations. They look his way, creepy.

Samuel reacts as Lilith appears at his ear, whispers:

Samuel looks at Ropes, who stands apart from the others.

MOMENTS LATER

Samuel has Buddy’s lopped-off head in one hand, shows it to Buddy’s bloody CELLPHONE, in his other.

Buddy’s bloody eyes stare at the phone. The screen wallpaper is a FAMILY PICTURE. The phone recognizes Buddy and unlocks.

Samuel tosses Buddy’s head to the pigs and opens a MAP APP on the phone, thumb types an address, seeking directions.

EXT. SUBURBIA - PAUL’S HOUSE - FRONT YARD - DAY

An Uber drives away, having deposited Court outside a small house at the end of the lane, much deferred maintenance.

Court approaches the house, passes a grimy MINIVAN in the driveway. Its rear windows are filthy and scratched. A frayed paw print bumper sticker, “WHO RESCUED WHO?”

Court notices the rear compartment is fitted with a large cage. Is that a chewed-up teddy bear inside? And a bone?

34.

Court warily approaches the front door, can’t see inside, more filthy windows. She touches the DOORBELL, DING-DONG.

At first, nothing. Then, the distant sound of BARKING DOGS gets louder and louder.

Court peers through the filthy glass to see a pack of MUTTS galloping her way -- WHAM!

Court startles back as FIVE DOGS slam against the door, barking, scratching, desperate to reach her. A MAN’S VOICE:

Court sees a SHAPE through the window, calls out:

Court watches him struggle to control the dogs.

A FACE appears at the window. We recognize --

DR. PAUL FOSTER (60’s) from Court’s laptop research. A brilliant man, inquisitive. He presents as kind, if sad.

Court presses her CIA ID against the glass. Paul double-takes at the sight, a dark memory unbidden. He eyes Court, alert.

INT. PAUL’S HOUSE - FRONT DOOR - MOMENTS LATER

Paul opens the door, interrupts Court talking on her cell phone. She startles, glad that no dogs are attacking.

Court hangs up, approaches Paul -- he’s unshaven and gaunt, but keen and confident, dressed for dog wrangling.

35.

Court hesitates, peers into the house, wary.

Court hesitates for a beat, then enters.

INT. PAUL’S HOUSE - LIVING ROOM - DAY

Court sits on a shabby couch. Blankets protect the leather are covered with dog hair. Flea-market décor.

Paul hands Court a coffee mug, takes an opposing chair. She notices old stains on the mug’s rim, scans for a spot on the cluttered coffee table to ditch it. Notices --

-- a FRAMED PHOTO of Paul as a younger man, wrapped in the arms of his loving WIFE.

Paul chooses his words carefully, tries not to give anything away while subtly probing Court for revelations:

36.

Court hands it over. Paul scrutinizes the details.

He watches for Court’s reaction. She plays it straight:

Paul mimics zipping his mouth shut.

TIME CUT TO:

ON THE SCREEN OF COURT’S LAPTOP, A FAMILIAR IMAGE --

ሊሊት

Paul regards the laptop. It’s turned to face him. Court studies his expression for emotional tells.

Court doesn’t know, and she doesn’t want to let on that she doesn’t know, so she mirrors bits of what Paul says:

37.

Paul regards her, bemused:

Paul studies Court’s face for a reaction. She’s flustered.

Court’s not sure what he means, plays it cool.

INT. PAUL’S HOUSE - BASEMENT - LATER

Paul turns on the light, leads Court down the stairs. The room is filled with cardboard FILE BOXES, dust-covered.

38.

Paul locates a file box, pulls out PAPERS, BOOKS, PICTURES.

Paul regards her, intrigued by this response.

Court puts a hand to her hidden medal, seeks comfort.

A beat, Paul doesn’t press.

Court shakes her head, checks out the old books.

39.

Court stiffens, wary of revealing any more personal info.

Paul passes her a book, “DEMONS, FROM ASMODEUS TO ZUUL.”

Court opens the book, sees images of demons from multiple cultures, including historical portraits of Lilith -- one racy image clearly influenced Samuel’s arm tattoo.

Paul reveals NEWSPAPER CLIPPINGS about a fire in an occult bookstore that took the lives of its owners. There’s a GRAINY PHOTO of a young boy in the back of an ambulance.

Paul appraises her, indicates the newspaper.

40.

Court doesn’t realize Paul is on to her. She’s transfixed by the articles and the pictures.

Paul takes a beat, measures his response:

41.

Court’s surprised, but doesn’t take the bait:

Court turns for the stairs, dismissive, pulls out her cellphone, onto the next thing. Paul calls after her:

Court stops in her tracks, confused:

Court comes back to warn him, fierce, controlled:

42.

Paul considers her threat, softens his approach:

Court appears unaffected and resumes her departure. When her back is turned, she releases a Yoga exhale, stressed.

EXT. WASHINGTON D.C. - NATIONAL ARBORETUM - PARK BENCH - DAY

Lush gardens. CIA Director Bennett sits on a bench, PHONE to his ear, gazing at the scenery as he listens, then responds:

BEGIN INTERCUT:

EXT. PAUL’S HOUSE - FRONT YARD - DAY

Court’s on her phone, with her bags, waiting for an Uber.

43.

44.

Court keeps quiet, hopes this will go away. Nope:

END INTERCUT:

Court hangs-up, chastened.

EXT. NATIONAL ARBORETUM - PARK BENCH - DAY

Bennett lowers his phone. NOW WE SEE a man on the bench with him, obsessively eating coffee nips, dropping the wrappers.

DOCTOR IVAN CALLAWAY (60s) always appears distracted. A deep thinker. Intellectually entitled. Bundled-up. Confident.

45.

Callaway walks toward a blacked-out SUV, where bodyguards are on subtle standby. One of them, JACE (30s), we’ll see again.

Bennett’s annoyed, can’t help picking up Callaway’s wrappers, appalled by the litter.

EXT. PAUL’S HOUSE - FRONT YARD - DAY

Court’s near the minivan, watching Paul load his dogs into the back of a FRIEND’S PICKUP TRUCK. Paul kisses the dogs goodbye, walks to her, wiping his mouth on his sleeve.

Court’s bummed she’s not getting an easy out.

INT. PAUL’S MINIVAN - PARKED - DAY

Paul is behind the wheel, looking at a MAP APP on his old BABBO TECH PHONE. Court’s impatient in the passenger seat:

46.

Court laughs, genuinely amused by his comment.

Paul’s reaction is the same as ours --

-- What the fuck? Court’s dad owns that tech company?

Court realizes she’s over-shared and gets self-conscious. A moment of real vulnerability. The secret that drives her.

Paul clocks her mood shift, before he can dig further the CELLPHONE BEEPS, route calculated.

Court’s relieved as Paul checks out the map app:

Paul STARTS THE VAN. Experimental JAZZ blares from the STEREO. Court turns it down as the drive begins.

EXT. DELOITTE - PIZZA HOUSE - DAY

TO ESTABLISH. A small-town joint for greasy Italian fare.

47.

INT. PIZZA HOUSE - DINING ROOM - DAY

MARJORIE (40s), exhausted, delivers a steamy pepperoni to one table, then turns to find Samuel alone at a four-top. He smiles warmly at the waitress like it’s a family reunion.

Marjorie doesn’t recognize this weirdo, alone at a big table.

Samuel realizes Marjorie doesn’t know him, sags.

Marjorie nods to the other empty seats. Samuel looks at --

-- Lilith beside him, Ropes across the table, beside The Hunter, while Clown prowls around a family at a nearby table.

Samuel looks back as Marjorie dumps a menu:

Samuel turns to Lilith:

-- Samuel turns to Clown, who lingers by the family. One kid stares at Samuel, wondering who he’s talking to.

Alone at the table, Samuel averts his gaze from the kid.

A local cop, STEVE (30s), enters.

Samuel watches Marjorie greet him with a kiss.

SAMUEL’S P.O.V. - SLOW-MOTION

48.

Samuel stands up quickly, enraged, spreads his wings. Ropes, Hunter, and Clown back him up. Lilith begs him:

BACK TO - REAL-TIME

Marjorie and Steve find Samuel mad dogging them, alone:

Samuel exits, leaving Marjorie and Steve confused.

EXT. INTERSTATE - DAY

TO ESTABLISH. Paul’s minivan drives in the fast lane.

INT. PAUL’S MINIVAN - DRIVING - CONTINUOUS

Paul at the wheel. Court’s shotgun, laptop open.

Court ignores him, types on the computer.

Court’s laptop is connected to the CIA’s network. She’s searching for Callaway, Lilith, Samuel, gets nothing:

49.

Court goes back to her laptop, Paul digs:

Paul considers her lack of empathy, then:

Court considers this. Maybe for the first time:

50.

Court stares into the distance, shutting down the conversation. Paul regards her with empathy -- a road trip can be a great way to get to know somebody.

INT. PAUL’S HOUSE - BASEMENT - DAY

CLOSE ON A PHOTO held in gloved hands. The snapshot of Paul and his late wife at their wedding is -- tossed into a BOX atop other PHOTOS of happier days.

Jace is the guy who tossed it, a Callaway bodyguard. He wears dark fabrics, no visible gun. His HIGH TECH EARPIECE blinks.

Jace drags the box of photos into the center of the room, where another OPERATOR stacks the BOXES of Paul’s research.

Jace reacts to a VOICE in his earpiece:

BEGIN INTERCUT:

INT. MIMETIKA MEDICAL SERVICES - HALLWAY - DAY

Clinical décor. Callaway walks, talks on his CELLPHONE:

51.

END INTERCUT:

INT. PAUL’S HOUSE - BASEMENT - DAY

The operator sets a CHARGE among the boxes. Just like the one Court used. As they set the timer, we notice --

-- this guy has a TATTOO on his forearm. A sexy image of Lilith, much like Samuel’s. Could this be a coincidence?

INT. MIMETIKA MEDICAL SERVICES - OBSERVATION ROOM - NIGHT

Callaway enters a small room filled with HIGH TECH GEAR. An ARMED GUARD and a TECHNICIAN at a CONTROL BOARD face a large glass wall into the ADJACENT LAB --

-- where two ORDERLIES wheel a PATIENT on a gurney into an MRI-like machine called an EPIGENETIC RESONATOR.

INT. MIMETIKA SERVICES - MEMORY LAB - CONTINUOUS

As the patient disappears into the resonator WE SEE --

-- another Lilith tattoo on their arm.

This is definitely more than a coincidence.

EXT. PIZZA HOUSE - NIGHT

Light spills from the dining-room window, then goes dark.

52.

EXT. PIZZA HOUSE - BACK DOOR - NIGHT

Marjorie exits, vapes on her way to a rusty MUSCLE CAR. We expect Samuel to jump out at any moment. She reaches the CAR.

Is Samuel hiding in the backseat? Nope. DEATH METAL blares from the STEREO as she drives away.

INT. MARJORIE’S CAR - DRIVING - NIGHT

Marjorie enjoys the loud music and the muscle car’s loud rumble. She glances at headlights in the rearview. Could it be Samuel following? The lights make a turn. Guess not.

EXT. MARJORIE’S TRAILER - NIGHT

A PIT BULL on a chain, sleeps outside a DOUBLE WIDE. Nobody else lives nearby. The dog perks up as Marjorie parks beside a POLICE CAR. She goes to the dog, gives a rub:

As she heads for the trailer, the dog wags, whimpers.

INT. MARJORIE’S TRAILER - NIGHT

Marjorie enters to find --

-- Steve in his cop uniform, tied to a chair, mouth duct-taped, eyes wide in terror.

Marjorie turns to see Samuel, shirt off, holding the cop’s GUN and a TASER -- ZAP!

CUT TO: BLACK

INT. MARJORIE’S TRAILER - LATER

FADE IN:

Marjorie opens her eyes to find her mouth duct-taped and she’s tied to a chair. Samuel punches Steve in the face with the butt of the cop’s gun. DEATH METAL rages from a STEREO.

Samuel notices Marjorie’s agitation, quits beating Steve. Marjorie recoils at his approach. What’s he got in his bloody hand? Thick locks of Marjorie’s freshly shorn hair:

53.

Marjorie’s confused, she’s never seen this guy before.

Samuel picks up an ALARM CLOCK and mimics a woman’s voice:

He hits Steve’s head with the clock. Marjorie tape-screams.

Samuel watches Lilith lick the blood on Steve’s head. Then turns to see Ropes point to an OLD BOOK on a nearby shelf.

Samuel picks up the book, mimics a man’s voice:

Samuel smacks Steve in the head with the book. It does less damage, so he hits him a few more times.

Marjorie watches in horror as Samuel next grabs a SNOW GLOBE, mimics the begging of a Vietnamese immigrant:

He whacks Steve’s head with the globe, breaks the glass.

Samuel watches Lilith lick bloody Steve, notices Ropes staring into Marjorie’s bleary eyes.

Marjorie looks over at Samuel, nodding as if she finally understands. He RIPS the tape from her mouth. She howls in pain. Samuel leans in close, his manner softening:

Only one thing makes sense to Marjorie:

54.

Steve opens a bloody eye, meets Marjorie’s gaze. They realize Samuel has just implicated her in murder.

With Ropes at his side, Samuel explains to Marjorie:

Marjorie only sees Samuel, not:

Samuel leans close, emotional:

Marjorie is surprised, hesitates, then -- whips Samuel across the face with a ROPE she’s just escaped from.

As Samuel tumbles back, stunned, Marjorie leaps from the chair, tackles him, batters him with her fists. He blocks defensively, reluctant to fight back.

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel sees Lilith crouching at his side, like a boxer’s manager in the ring of a downed champ. She urges him on:

55.

BACK TO - REAL-TIME

Samuel shoves Marjorie off, gets clear. She comes back at him and they crash into cabinets, BREAKING FURNITURE.

EXT. MARJORIE'S TRAILER - CONTINUOUS

The DOG BARKS at the SOUND of the FIGHT, pulls at its chain, desperately trying to reach the trailer door.

INT. MARJORIE'S TRAILER - CONTINUOUS

Marjorie grabs a TABLE KNIFE, slashes at Samuel. He dodges, gets her off balance, fights back.

Samuel and Marjorie tumble into Steve, knock over the chair-tied cop -- scramble to reach his discarded GUN.

As Samuel crawls, Lilith hovers near it, urging him on.

Marjorie gets the gun first, SHOOTS wildly. Samuel is moving fast so -- a missed shot nails Steve, wounds him.

Lilith and Ropes move with Samuel as he charges Marjorie, wrestles her for control of the gun -- BLAM!

EXT. MARJORIE'S TRAILER - CONTINUOUS

The dog yanks its chain out of the ground, bounds toward the trailer door, leaps against it, trying to get inside.

INT. MARJORIE'S TRAILER - CONTINUOUS

Samuel and Marjorie fight for the gun -- BLAM! She goes limp in Samuel’s arms -- his face fills with anguish, devastated.

EXT. MARJORIE'S TRAILER - CONTINUOUS

The dog abandons the door and we follow it around the back of the trailer, where it CRASHES through a WINDOW to get inside.

INT. MARJORIE'S TRAILER - CONTINUOUS

The dog dashes for Samuel, who’s on the floor. But it doesn’t attack him, whines, approaches, confused --

-- Samuel cradles Marjorie, with Lilith nearby. Ropes is here too, hunched in grief, holding Marjorie’s head.

The dog licks Samuel’s face. On the wall behind them is a SNAPSHOT of Marjorie receiving a puppy on her birthday. It’s the same dog, all grown up. She didn’t remember; the dog did.

56.

Samuel looks back toward Steve, who lies bleeding, still tied to the chair. His eyes flare as Samuel aims the gun at him --

-- Samuel and Ropes look down the barrel of the gun at Steve:

-- BLAM!

EXT. MARJORIE'S TRAILER - NIGHT

Samuel exits, dog at his side. He attaches the dog to its chain and stake, so it can’t leave.

Samuel pats the dog goodbye, heads for Marjorie’s car.

As he walks away, the dog’s vibe suddenly changes. It barks and growls, no longer recognizing Samuel because --

-- Samuel turns back to see Ropes standing beside the dog. The eerie masked figure is silent and still, watching Samuel.

As Samuel turns to the car, WE SEE the dog barking, alone.

INT. MARJORIE'S CAR - PARKED - NIGHT

Samuel slides behind the wheel. Lilith is upfront. Hunter’s in back with Clown.

Lilith stretches her legs across Samuel’s lap.

EXT. MARJORIE'S TRAILER - CONTINUOUS

The dog barks as the car drives into the night.

EXT. RURAL HIGHWAY - DAWN

TO ESTABLISH. Paul’s minivan drives on a two-lane road.

INT. PAUL’S MINIVAN - DRIVING - CONTINUOUS

Court wakes up in the passenger seat, notes Paul at the wheel and the cellphone map is paused, they’re off the interstate:

57.

They spot an AMBULANCE pulling out of a driveway.

EXT. PAUL’S MINIVAN - PARKED AT MARJORIE'S TRAILER - DAY

Court and Paul exit the minivan and walk toward the trailer, its door blocked with police tape. Two new COP CARS are parked beside dead Steve’s. And a TRUCK from animal control.

Before Court can respond, a SHERIFF moves toward them:

Court shows off her ID:

The Sheriff regards it, confused:

58.

Court starts back toward the minivan:

Court keeps walking, annoyed:

A UNIFORMED COP leans out of Steve’s Patrol Car, holds up a small MEMORY CARD as he yells to the Sheriff:

The Sheriff and Paul like the sound of that.

Court stops, annoyed but intrigued.

INT. POLICE STATION - TECH ROOM - DAY

A DESKTOP MONITOR filled with DASH CAM VIDEO -- The view from Steve’s car as it parks near Marjorie’s trailer. Nobody in sight. Just the dog, chained up, barking at the cop car.

59.

A POLICE TECH controls the VIDEO. Paul and Court stand behind him along with the Sheriff, watch the footage cut off.

The Tech cues another file -- the screen fills with a new video. Outside of the trailer. The dog is lying back down.

The Tech SCROLLS the video forward until headlights shine on the dog and the trailer. Marjorie walks into the cam’s field of view. She goes to pet the dog and enters the trailer. The dog settles down. The footage goes back to boring:

The Tech scrolls until the dog pulls at its chain, breaks free, and attacks the trailer door:

They watch the dog disappear around the back of the trailer.

Court loses patience, reaches for the scroll wheel, forward:

Court stops scrolling when the trailer door opens, lets it play at normal speed, and they all watch --

-- Samuel exit with the dog, too distant to identify.

60.

Paul leans toward the screen, tries to get a good look.

Paul watches the figure tie up the calm dog. When Samuel walks away from it, the dog goes nuts, barking like mad:

The Police Tech freezes the image as Samuel looms large. Paul scrutinizes the on-screen face, disappointed by what he sees:

Paul finds Court staring at the video image in shock. Paul might not recognize Samuel -- But Court does. WTF?

That snaps Court out of it. She yanks the memory card from the PC, the image cuts, monitor fills with an error message:

Before the others have time to engage, Court re-inserts the card halfway into the reader, breaks it into pieces -- SNAP!

The Sheriff moves to put Court under arrest. She’s still in a daze, doesn’t fight back:

61.

The Sheriff force marches Court toward the exit:

The Sheriff stops abruptly, backs off Court, bewildered:

Court rubs her wrists, tries to regain her composure, looks back at Paul. Before he can ask, she goes for the exit.

62.

Paul’s disappointed and curious -- Why did Court do that?

EXT. POLICE STATION - DAY

Paul exits to find Court accepting a light for a bummed cigarette. Her hand shakes as she takes a drag to calm down. As Paul steps up, she has trouble facing him:

Court drags, exhales with a slight cough.

Court forces herself to take another drag.

Court takes another drag, gets better at it.

63.

Court takes a deep drag, a hard side-exhale, Yoga power.

Court flicks her cigarette at Paul. He sidesteps.

Off Court, considering her next move.

EXT. WHITE HOUSE - DAY

TO ESTABLISH.

64.

BEGIN INTERCUT:

INT. WHITE HOUSE - WEST WING - GAIL’S OFFICE - DAY

Gail has a PHONE to her ear, closes her door, keeping deskbound Ted out of the loop:

Gail returns to her COMPUTER, types. We don’t see her screen, so we can only take Gail’s word for what she’s looking at:

65.

END INTERCUT:

The more Court listens, the angrier she becomes.

EXT. POLICE STATION - PARKING LOT - DAY

Paul finds Court removing her BAGS from the minivan.

Court’s done, uses her phone to order an Uber. Paul tries to get her attention with an emotional revelation:

Court is un-affected by his passion, checks her app:

Court track’s the Uber on her phone.

66.

That gives Court pause -- He did it for love?

Paul sees the revulsion in her eyes, tries for empathy:

Court tries to understand:

Court’s caught up in Paul’s story. They both notice a silver Prius slow on the other side of the street and U-Turn.

67.

That Prius slows, UBER DRIVER calls:

Court waves. The car stops, she goes for it with her bags:

Paul can’t believe Court’s abandoning their mission:

Court loads her bags into the trunk:

Court closes the trunk, moves to get in the car.

Court hesitates, doesn’t like the sound of that:

68.

Court understands Paul’s trying to manipulate her deep-rooted hatred of being perceived as a loser. As she gets in the car:

Paul holds the door, buys another moment to sow doubt:

Court regards him, listens to her own little voice. Is it telling her to get the hell out of here? Or double-down?

EXT. MARJORIE’S CAR - DRIVING - DAY

Samuel drives the empty car, windows down, cruising:

INT. MARJORIE’S CAR - DRIVING - DAY

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel smiles, hands on the wheel. Lilith leans against him, licks his face, strokes him with her hands and tail.

69.

In the back seat, The Clown gets off on the show. Hunter looks out the window, ignoring the make-out session.

EXT. GAS STATION - PAUL’S MINIVAN - DAY

Paul fills the tank. Court’s in the front seat on her laptop:

INT. MARJORIE’S CAR - DRIVING - DAY

Clown sits in the backseat, looks out the window:

Clown looks over to Lilith, now in back with him. He scoots toward her with lascivious intent. She doesn’t notice.

70.

Samuel’s behind the wheel, sees what’s happening via REAR VIEW MIRROR. His recognition triggers Lilith to WHIP Clown with her tail. Clown retreats, chastened.

As Lilith strokes Samuel’s hair from behind, we see Hunter’s taken her place in the passenger seat. The dominant identity:

EXT. GRIFFO’S GUN SHOP - PARKING LOT - DAY

Samuel drives Marjorie’s car into the lot, alone.

Samuel parks, regards the front of the store.

INT. PAUL’S MINIVAN - GAS STATION - DAY

Paul gets behind the wheel, pulls ROAD SNACKS out of a bag. Passes some FUNIONS over to Court as she studies her laptop.

INT. GRIFFO’S GUN SHOP - DAY

Hunting trophies. Display cases filled with GUNS. A SALESMAN behind the register talks to Samuel.

71.

The Salesman points Samuel to a section where TAXIDERMY SUPPLIES are on display. On a nearby wall, framed pictures of dead game animals, proud hunters posing for the camera.

Samuel steps toward the photos for a closer look --

-- A FRAMED PHOTO of a smiling BOY SCOUT (10), with GRIFFO (30s), a heavy-set shooter in cammo and a backwoods beard.

-- It’s not Samuel’s face reflected in the glass frame, but Hunter’s ghillie mask, red eyes shining on Griffo.

PRELAP: BANG!

EXT. ALLEGHANY FOREST - VALLEY - DAY

A GUNSHOT echoes over rolling hills, thick with green trees.

EXT. ALLEGHANY FOREST - HUNTING TRAIL - DAY

A FIGURE on the move, RIFLE in hand, BOOTS CRUNCHING. It’s Griffo, older, now in his sixties, beard trimmed by half.

He arrives at a DEAD DEER, admires his shot. Then looks around, scanning. Is somebody watching him? He sees no one.

EXT. WAL MART - PARKING LOT - DAY

Paul takes Court’s GO-BAG from the minivan, passes it out to her. He locks the van, and they walk toward a MATTE BLACK HELICOPTER that’s landed in the parking lot, blades spinning.

EXT. ALLEGHANY FOREST - FIRE ROAD - DAY

VIEWED THROUGH THE TREES -- Griffo rides an ATV, dead deer strapped across a back rack.

EXT. ALLEGHANY FOREST - HUNTING CABIN - SUNSET

VIEWED FROM A DISTANCE -- Griffo rides toward a single-story CABIN. A garage door opens remotely. He drives inside.

INT. HUNTING CABIN - GARAGE - CONTINUOUS

Griffo parks the ATV and gets to work on removing the deer, then remembers to hit the remote and shut the garage door.

72.

As it rolls down, Samuel appears out of nowhere and enters. He’s dressed in hunting regalia. He calls to Griffo over the garage door rattle:

Griffo’s caught off balance by the approaching stranger:

Griffo stops the door from going down. Samuel doesn’t slow:

Griffo takes a beat, notes his rifle on the opposite side of the ATV, and a HANDGUN on a distant counter. No easy choice:

Samuel removes the rifle from the ATV. Griffo bolts for the handgun. Samuel calmly chambers a load and SHOOTS Griffo in the back, upper left, drops him to the floor.

Samuel approaches the wounded man.

73.

Samuel grabs a leg, drags Griffo toward the inner door.

INT. HUNTING CABIN - LIVING ROOM - CONTINUOUS

Samuel drags Griffo toward a bookcase, with very few books.

Through his pain and panic, Griffo watches in disbelief as Samuel opens a hidden door in the bookcase. How’d he know that was there? Samuel drags Griffo into the darkness.

INT. HUNTING CABIN - TAXIDERMY ROOM - CONTINUOUS

Samuel turns on the lights. The walls are lined with department store mannequins wrapped in... animal hide?

Samuel drags Griffo toward a TABLE for cleaning game. There’s a BAND SAW configured to clean, gut, and flesh-strip people.

A prisoner CONTAINMENT CELL at the room’s far side. The WOMAN inside is emaciated but alive. Call her -- STOLEN DOVE (20s).

Repulsed by the offer, Samuel kicks Griffo’s wound.

Griffo stares into Samuel’s eyes, confused and terrified.

74.

EXT. ALLEGHANY FOREST - RURAL ROAD - NIGHT

Marjorie’s car parked on the shoulder of an empty road near a dirt driveway. Muffled ROTOR noise of a distant HELICOPTER.

INT. MATTE BLACK HELICOPTER - HOVERING ABOVE - CONTINUOUS

ON A MONITOR, NIGHT VISION IMAGES of the car from above.

Court and Paul in back, wearing HEADSETS, regard the images.

Paul watches nervously as Court enters a code into a keypad, opens a LOCKBOX on the floor that’s packed with GUNS.

EXT. ALLEGHANY FOREST - RURAL ROAD - NIGHT

Court and Paul advance up the driveway with HANDGUNS. Behind them, the black helicopter sits on the road, blades slowing.

Paul hustles to catch up with Court, whispers:

Paul is taken-aback -- Does she mean to kill Parker?

Court ignores him, approaches the dark cabin, scared. She tries to remember how to hold a gun. One hand? Two? She’s startled when a FIGURE dashes out of the house --

Court and Paul aim their guns at the woman --

75.

Paul tries to comfort the woman:

Court watches Paul start back with the woman. They HEAR a blood-curdling SCREAM from inside the house. Court hurries toward the cabin, terrified, gun braced with both hands.

INT. HUNTING CABIN - TAXIDERMY ROOM - CONTINUOUS

Griffo strapped to the cleaning table, woozy from loss of blood, watching in terror as Samuel moves the saw close.

SAMUEL’S P.O.V. - SLOW-MOTION

Lilith floats in the air, wings spread. Clown inspects the mannequins. Hunter stands beside the table, shining his red eye lights on Griffo’s hand. Samuel lines up the saw --

BACK TO - REAL-TIME

Samuel activates the SAW -- its WHINE covers Griffo’s scream.

INT. HUNTING CABIN - LIVING ROOM - CONTINUOUS

Court enters, low, gun leading the way, shaking. Light spills from the open door in the bookcase. She approaches, sees --

-- Griffo on the table. Samuel repositions the saw, his back to Court.

Court’s gun shakes, she leans against the bookcase doorframe, steadies her gun, aims at Samuel’s back. Yoga breathing --

-- Griffo sees Court in the doorway:

Samuel ducks just as Court FIRES. A miss.

Court charges into the room, panic SHOOTING --

76.

INT. HUNTING CABIN - HIDDEN ROOM - CONTINUOUS

Court enters, SHOOTS toward Samuel as he dives for cover on the other side of the cleaning table.

Court’s too far into the room to go back. She advances toward the table, searches for an angle.

Without giving her a shot, Samuel turns on the saw, knocks it over so the blade buries into Griffo.

Court flinches as blood sprays from dying Griffo. Distracted as Samuel runs for the door. She FIRES, but he gets out.

INT. HUNTING CABIN - LIVING ROOM - CONTINUOUS

Samuel comes out of the bookcase door, almost runs into --

-- Paul, gun ready:

Samuel reacts to the name, stops in his tracks.

Court enters, gun on Samuel, pulls the trigger -- CLICK. She scrambles to reload.

Paul is shocked that Court was going to execute Samuel. He’s not sure how to react as Samuel advances on him:

Court fumbles to load her gun, out of practice:

Paul can’t do it:

Samuel snatches Paul’s gun, SHOOTS him in the upper right chest. When Paul drops, Samuel turns to shoot Court --

She’s finally reloaded, SHOOTS at him. He FIRES back and runs into the garage.

77.

Court checks Paul, he’s alive. She advances on the door to the dark garage, scared. Court doesn’t want to go in there. She hears the ATV STARTING UP and makes her move --

INT. HUNTING CABIN - GARAGE - CONTINUOUS

Court enters only to get blinded by the ATV’s HEADLIGHT, SHOOTS anyway as the ATV reverses out of the garage door. Court watches it race away into the night. She’s defeated.

EXT. PUBLIC HOSPITAL - DAY

TO ESTABLISH.

INT. PUBLIC HOSPITAL - PRIVATE ROOM - DAY

Paul sleeps in a hospital bed, connected to an IV and monitoring equipment. He opens his eyes to find --

Court stands at a sink and mirror, wipes Griffo’s dried blood off her face, sees Paul awake behind her, goes to him:

Court’s stung by his remark, watches Paul mimic zipping his mouth shut. She gets up and starts for the door, turns back:

Court is slow to respond, considers her own choices.

78.

Court reacts, goes to the door to see Ted coming her way. Behind him, we recognize Jace and two Mimetika Operators.

INT. PUBLIC HOSPITAL - SMALL CHAPEL - DAY

A stained-glass Virgin Mary behind Court and Ted:

Ted stares at her, wonders:

Court’s instinct is to argue, but she’s too tired.

79.

EXT. PUBLIC HOSPITAL - LOBBY ENTRANCE - DAY

Court and Ted exit to see Paul, dressed, being helped out of a wheelchair and into an SUV by one of the Operators.

As Ted walks toward a second SUV to confer with Jace, Court goes to help Paul.

Court arrives to see the strong Operator has everything under control. She makes eye contact with Paul, follows his gaze --

-- down to the Operator’s bare arm and -- a Lilith tattoo.

Court steps back, shocked. The Operator closes the door.

Court moves to join Ted, only to notice the guy he’s talking to, Jace -- also has a Lilith tattoo.

Court’s stunned, unclear what to do. Ted comes back to her:

Ted misinterprets the shock on Court’s face:

Court doesn’t respond.

INT. HOTEL - SEVENTH FLOOR HALLWAY - DAY

Court and Paul are alone, watching Ted remove the LANDLINE PHONES from their adjoining rooms. Court’s got her laptop bag over her shoulder. Paul leans against the wall for support.

Paul picks his moment to conspire with Court:

80.

Ted exits the rooms, gently tosses the landlines into his room across the hall. He motions for Paul to enter the adjoining room he just cleared:

Paul shares a last look with Court, enters the room. After Ted shuts the door, he turns to Court:

Court notices Ted looks upset -- About their relationship?

Court hands over the phone, enters her room.

INT. HOTEL - COURTNEY'S ROOM - CONTINUOUS

When Court gets through the door, Ted pulls it halfway --

He closes the door. After a beat, Court tosses her go-bag to the bed and continues to the window, ponders her next move.

EXT. TREE LINE - ACROSS FROM THE HOTEL - DAY

VIEWED FROM A DISTANCE -- Court’s barely visible in the window of her room on the seventh-floor. Watched by --

-- Samuel’s in cover, identifying Court’s room.

He looks away from Court, down to the hotel’s playground, where Lilith is having a nonverbal chat with Clown. When they look his way, Samuel looks back to Court’s room. She’s gone.

SAMUEL’S P.O.V. - SLOW-MOTION

Lilith appears behind Samuel.

81.

Lilith caresses Samuel with her hands and tail.

Samuel looks over at Clown, who enjoys the swing set.

BACK TO - REAL-TIME

Samuel hides alone, watching the hotel, ominous.

INT. HOTEL - COURTNEY'S ROOM - NIGHT

Court has her LAPTOP open, looks into the WEBCAM as she logs in to her CIA account --

-- ACCESS DENIED.

She adjusts her hair and straightens up, tries again. Another rejection. And another. Court closes the laptop, frustrated.

INT. HOTEL - PAUL’S ROOM - NIGHT

Paul takes a few alcohol MINI BOTTLES from the minibar. On the bed, he washes down an antibiotic with vodka, lies back. Paul’s in physical pain and existential crisis. Lights out.

INT. HOTEL - COURTNEY'S ROOM - NIGHT

Court arches up into a Yoga Cobra, regards CABLE NEWS on TV. No sound. She reads the captions: “AIRSTRIKES IN MADAGASCAR”

Court quits Yoga, sits on the bed, transfixed by a PENTAGON BRIEFING with aerial footage of a drone strike --

-- grainy images of the weapon hitting a target are replaced by on-the-ground video footage of a hospital near the attack.

Court watches civilian victims get treatment for injuries. She reads the captions, including -- “TERRORIST TARGETS”

Court’s upset, rubs her Mary Medal, knows she made this happen. These last few days have pushed her to the emotional edge. If only she had someone to talk to.

Court unzips a side pocket on her go-bag, pulls out the brand new Babbo Tech cellphone, unwraps it.

82.

EXT. HOTEL - UTILITY AREA - NIGHT

Using darkness for cover, Samuel approaches several large AIR CONDITIONING UNITS, scrambles atop one, then up to a wall, then onto the balcony of a first-floor guest room. He scales the outside of the hotel via the balconies.

INT. HOTEL - COURTNEY'S ROOM - NIGHT

Court places a call on her new BABBO PHONE, watches the airstrike reports, listens to the RING... RING... RING... She’s surprised when the phone’s answered by a YOUNG BOY:

Court listens to a muffled conversation:

83.

Court considers hanging up, then:

It takes a beat to get a response:

84.

Court hears what sounds like ANOTHER PERSON in the room with her Father, MUFFLED WHISPERS, a WOMAN? Then:

Court HANGS UP and hurls the phone at the TV. It bounces off, leaving Court to stare at more AIRSTRIKE NEWS, alone.

EXT. HOTEL - BALCONIES - NIGHT

Samuel climbs from one balcony to the next, getting higher. He doesn’t notice an OBJECT hovering in darkness behind him.

A small quad-copter, SURVEILLANCE DRONE, rises, tracks Samuel’s progress up the outside of the building.

INT. MIMETIKA MEDICAL SERVICES - OPS ROOM - NIGHT

A NIGHT VISION IMAGE of Samuel’s climb fills a MONITOR. A TECH OFFICER manages the controls. Callaway watches nearby.

EXT. HOTEL - BALCONY - NIGHT

Samuel pulls himself onto a seventh-floor balcony, goes to the sliding door, breaks in, quietly.

85.

INT. HOTEL - PAUL'S ROOM - NIGHT

Paul sleeps on the bed beside a pile of mini-bar empties. He wakes in darkness to find Samuel on the edge of his bed:

Samuel looks up at Lilith hovering in the air, fangs bared.

Paul sees only Samuel, smiling at the ceiling.

Samuel glances across the room, where Clown waits, patient.

86.

INT. MIMETIKA MEDICAL SERVICES - OPS ROOM - CONTINUOUS

Callaway watches Samuel via drone feed, orders over comms:

INT. BLACK HELICOPTER - FLYING - CONTINUOUS

Jace and four Operators are geared up for battle:

INT. HOTEL - SEVENTH FLOOR HALLWAY - NIGHT

Court exits her room, goes to Ted’s door, knocks. No answer. Tries again. Nope. She’s about to go back to her room, then --

-- back to Paul’s door, knocks. After a beat, she hears the other side, UNLOCK. The door opens slowly, through it --

-- In the closet mirror, Court spots Samuel on the other side. Court shoves the door inward, SLAMS it into Samuel.

INT. HOTEL - PAUL'S ROOM - CONTINUOUS

Court forces her way into the room. Again SLAMS the door against Samuel. He attacks -- she reverses the move.

Parker doesn’t respond -- counters her move and attacks! Court’s only chance to survive is convincing him to stop:

That snaps Parker out of it -- he regards her, confused. Part of him recognizes her -- even then, it makes no sense:

Before Court can object --

87.

-- The ROAR of a HELICOPTER outside the building. The room is bathed in a bright white spotlight. THREE OPERATORS CRASH through the window on fast ropes.

-- Court and Paul dive flat as Jace and the other two Operators OPEN FIRE. Samuel dive rolls out the door --

INT. HOTEL - SEVENTH FLOOR HALLWAY - CONTINUOUS

Samuel is confronted by a pair of OPERATORS, guns up.

Samuel grabs one guy, reverses their gun, SHOOTS the other, disables the first. Now Samuel has a gun, sprints away.

INTERCUTTING:

INT. MIMETIKA MEDICAL SERVICES - OPS ROOM - NIGHT

Callaway watches the action on MONITORS, from CAMERAS on the operators, drone, and orbiting helicopter.

INT. HOTEL - PAUL'S ROOM - NIGHT

Court and Paul are dazed as Jace and the operators charge past them and into the hallway after Samuel.

Before she can respond, Ted calls to them from the hallway.

INT. HOTEL - SEVENTH FLOOR HALLWAY - NIGHT

Court and Paul follow Ted, run for the opposite stairwell. As Court follows, she notices Ted’s fully dressed:

88.

Ted opens a stairwell door, motions them through. Court and Paul move past him, start down the stairs. Ted hangs back, listens to a VOICE IN HIS EARBUD:

Ted is uncomfortable with his role, follows.

INT. HOTEL - WEST STAIRWELL - NIGHT

Samuel hurries downstairs, exchanges GUNFIRE with Jace and the pursuing operators.

An operator bursts from a door below. Samuel grabs them, throws them over the railing. They plummet several floors.

Samuel avoids FIRE from above, SHOOTS back as he sprints through the landing door and down the hallway.

Jace and two operators arrive on the landing in pursuit.

INT. HOTEL - EAST STAIRWELL - NIGHT

Paul’s wound and weakness slow his pace. Court tries to help him. As Ted catches up:

Court’s not happy, keeps moving ahead with Paul. Ted slows, sets them up to be killed when they exit the lobby.

INT. HOTEL - FOURTH FLOOR HALLWAY - NIGHT

Samuel SHOOTS at his pursuers, then SHOOTS the lock of a guest room door and disappears inside.

Jace and his guys race to the door, stack up for entry.

89.

INT. HOTEL - FOURTH FLOOR GUEST ROOM - CONTINUOUS

Jace and his guys enter to find a BUSINESSMAN cowering in bed and the balcony slider open. They push forward.

EXT. HOTEL - FOURTH FLOOR BALCONY - CONTINUOUS

Jace and his team exit, take FIRE from below, SHOOT back. Watch Samuel make his way down the balconies:

INT. HOTEL - LOBBY - NIGHT

Paul and Court exit the stairwell to find an operator running away from them to reach the back of the building. After a beat, Ted joins them, having expected them to be killed.

Ted isn’t sure how to respond.

INT. MIMETIKA MEDICAL SERVICES - OPS ROOM - NIGHT

Callaway tracks Ted’s confusion via MONITORS, orders:

INT. HOTEL - LOBBY - NIGHT

Ted’s conflicted, waves Court and Paul toward the main exit:

Paul has a hard time. Court slows to help him. They know Ted follows -- don’t know he’s pulling out a PISTOL.

Ted’s at their backs, gun at his side, nervous. He listens:

Callaway overhears this audio, reacts, tells Ted:

90.

Ted lowers his gun, momentarily relieved, listens:

Court glances back, surprised to see Ted holding a gun.

EXT. HOTEL - PARKING LOT - MAIN ENTRANCE - NIGHT

As Court, Paul, and Ted exit, a helicopter lands in the lot.

EXT. HOTEL - SOUTH BALCONIES - NIGHT

Samuel leaps down another floor, avoids GUNFIRE. A pursuing operator leaps down, Samuel is waiting, drops him.

Samuel leaps down another level, unaware that Jace now moves parallel across the balconies above. When Samuel leaps to ground level -- Jace leaps, tackles him.

Samuel and Jace are dazed as they get to their feet. The operator on the upper balcony SHOOTS -- Samuel rolls clear and FIRES back, drops the man above. Samuel runs --

-- Jace SHOOTS, missing as Samuel rounds a corner.

INT. MIMETIKA MEDICAL SERVICES - OPS ROOM - NIGHT

Callaway watches the video screens, listens as:

The Tech Operator points to the drone’s VIDEO FEED -- the MONITORS fill with the lights of approaching POLICE CARS.

EXT. HOTEL - EAST SIDE - NIGHT

Jace rounds the corner, gun up, expects to have Samuel in his sights. There’s no sign of him, just an open exit door.

91.

INT. MIMETIKA MEDICAL SERVICES - OPS ROOM - CONTINUOUS

Callaway sees the Police Cars nearing the hotel.

Callaway checks the BODY CAM FEEDS -- Jace and three operators run for the parking lot. Three more injured operators can’t get to their feet and won’t get away.

The Tech Operator follows instructions. Callaway gives new orders to the injured men in a familiar ancient language:

INT. HOTEL - STAIRWELL - GROUND FLOOR - CONTINUOUS

The operator who fell multiple floors, lies on his back, barely conscious, listens to Callaway via earpiece:

The injured operator struggles to pull their HANDGUN and -- SHOOTS themselves in the head, committing suicide on command.

INT. HOTEL - SEVENTH FLOOR HALLWAY - CONTINUOUS

Another operator that Samuel wounded can’t reach a gun, so they pull a GRENADE off their bandolier, yank out the pin.

92.

EXT. HOTEL - PARKING LOT - CONTINUOUS

Court, Paul, and Ted load into the back of the helicopter as Jace and two operators run toward them. A MUFFLED EXPLOSION on the hotel’s seventh floor draws everyone’s attention.

EXT. HOTEL - SOUTH BALCONY - CONTINUOUS

A downed operator, shot by Samuel, badly injured, barely conscious, struggling to hold his GUN.

The operator finally gets the gun to their head when -- Samuel rips it from their hand, saving their life.

INT. MIMETIKA MEDICAL SERVICES - OPS ROOM - CONTINUOUS

Callaway reacts to Samuel’s face on a monitor, recorded by the operator’s body cam. Samuel disables the cam. STATIC.

INT. HELICOPTER - PASSENGER COMPARTMENT - CONTINUOUS

Court, Paul, and Ted sit on benches as Jace and the last operators get aboard. EMERGENCY VEHICLES arrive in the lot.

As the helicopter rises, Court watches Ted strap an O2 MASK over Paul’s face. He passes out. Ted turns to Court:

Jace and another operator pin Court in place as Ted forces an 02 mask over her face.

CUT TO: BLACK

EXT. COUNTRYSIDE - ABANDONED BUILDING - DAY

TO ESTABLISH. An overgrown industrial site.

INT. ABANDONED BUILDING - CENTRAL ROOM - DAY

Samuel holds a severed arm, stares at its Lilith tattoo.

The arm belongs to the naked, headless corpse of the operator that Samuel saved from suicide. The body is positioned to face the wall, head in its lap.

SAMUEL’S P.O.V. - SLOW-MOTION

93.

Samuel looks back at the body, where Lilith hovers in the air, wings spread wide. The Clown sits in a far corner.

With the bloody arm, Samuel paints Lilith’s name on the wall.

ሊሊት

As Samuel paints in blood, Lilith begs him, desperate:

Samuel stops painting, turns back to confront her:

Samuel turns away from Lilith and resumes painting.

BACK TO - REAL-TIME

Samuel in the room alone, watched by that severed head. WE SEE a tiny blinking light on the operator’s earbud.

EXT. ABANDONED BUILDING - VARIOUS - DAY

Jace and three teams of tactical operators advance on the building from multiple sides, all carry MACHINE GUNS.

The operators take breach positions and affix OXYGEN MASKS. Simultaneously, they toss SMOKE GRENADES into the building.

INT. ABANDONED BUILDING - VARIOUS - DAY

SMOKE fills the building, followed by FLASH BANG grenades.

Jace and the operators breach and clear, searching. The smoke is VERY THICK. It’s hard for them to see anything.

INT. ABANDONED BUILDING - CENTRAL ROOM - DAY

Jace and the operators enter from various directions -- find no sign of Samuel. Only the corpse of the dead operator.

As the SMOKE CLEARS, Jace and the others notice the wall:

94.

ሊሊት

Triggered by the symbol, the operators take a knee, face the wall. We notice some of them have exposed Lilith tattoos.

In reverence, the masked operators don’t notice a NEW FIGURE dressed like them, enter and kneel at the back of the group.

It’s Samuel, wearing an oxygen mask, in disguise.

EXT. MARYLAND - MIMETIKA MEDICAL SERVICES - DAY

TO ESTABLISH. Corporate headquarters with a helipad.

INT. MIMETIKA MEDICAL SERVICES - INTERROGATION ROOM - DAY

No windows. One door. A central table with chairs.

Court stands in a corner, nervous, glancing at a ceiling-mounted video camera. She rubs the Mary Medal on her necklace, trying to get her nerves under control.

She startles as the door opens; Ted holds it. He won’t meet her gaze. She starts toward him, stops when --

-- Gail enters the room. Ted seals the women inside.

Gail and Court sit at the table across from each other. Gail places a secure DIGITAL TABLET and STYLUS between them.

95.

Gail slides the tablet toward Court. Court takes the stylus, looks over the digital document. Gail tells her:

Gail nods, Court signs.

96.

Court listens, amazed it’s all true.

EXT. MIMETIKA MEDICAL SERVICES - HELIPAD - DAY

A ground CREWMAN watches a BLACK HELICOPTER hover down for a landing. When the engines cut and the rotor slows, the crewman approaches, slides open the rear passenger door.

The crewman stares in shock at the dead face of Jace. The entire compartment is bloody, filled with dead operators.

The crewman doesn’t notice the operator who had been piloting the chopper, moving up behind him. It’s --

-- Samuel, face and tactical garb covered in blood. Before the crewman can call for help, Samuel kills him with a knife.

INT. MIMETIKA MEDICAL SERVICES - INTERROGATION ROOM - DAY

Court tries to process what she’s just been told:

Court realizes she’s getting what she wanted, forces a smile.

INT. MIMETIKA SERVICES - MEMORY LAB - DAY

Callaway enters, approaches the EPIGENETIC RESONATOR, where Paul is strapped to a gurney, pumped with drugs via IV.

97.

Paul’s shocked.

Callaway nods to an orderly, who puts Paul in the resonator.

Callaway waves toward the control room window. On the other side, a Med Tech works, and the RESONATOR THRUMS to life.

INT. MIMETIKA MEDICAL SERVICES - HALLWAY - DAY

A security guard walks around a corner and into the blade of Samuel’s knife. The body drops, Samuel moves on.

INT. MIMETIKA MEDICAL SERVICES - INTERROGATION ROOM - DAY

Court watches Gail co-sign the digital tablet:

98.

Gail stands, offers her hand. Court shakes it, relieved. As they start toward the door of the room:

Court is taken aback:

Court is surprised by the ask.

99.

Court takes her time to answer:

Gail regards Court for a long moment.

INT. MIMETIKA MEDICAL SERVICES - HALLWAY - DAY

Court follows Gail out of the room, sees Ted waiting. He regards her nervously. Court forces a smile:

Before Ted can respond, Court is grabbed from behind by a pair of ORDERLIES. They drag her toward a waiting gurney:

The orderlies strap Court to the gurney, a gag over her mouth. She tries to make eye contact with Ted, pleading.

Ted ignores her and follows Gail in the opposite direction. As the orderlies wheel her away, Court looks back as --

-- Samuel rounds a corner and moves after Ted and Gail.

Court screams under her gag, watches helplessly as Samuel steps up behind Ted, takes him down from behind. Court loses her view as she’s wheeled away around a corner.

Gail reacts to an odd sound behind her, turns to find Ted on the floor, dead. Samuel pulls a knife from Ted’s back and stalks toward Gail. She backs away in shock:

100.

Gail turns to run -- Samuel grabs her from behind, puts the blade of his knife to her throat, calmly explains:

As Samuel cuts into Gail’s neck, WE CUT TO:

INT. MIMETIKA MEDICAL SERVICES - MEMORY LAB - DAY

Court’s wheeled in on the gurney, eyes wide, screaming for help under her mask, sees Paul being removed from the imager.

Callaway checks on Paul’s vitals, tells the orderlies:

Callaway sees Paul regain consciousness:

Paul is too groggy to respond.

INT. MIMETIKA MEDICAL SERVICES - OBSERVATION ROOM - DAY

The Med Tech hears someone, turns to see Samuel approach with the knife. The Med Tech fumbles to un-holster a GUN.

INT. MIMETIKA MEDICAL SERVICES - MEMORY LAB - CONTINUOUS

Everyone in the room is oblivious to the action on the other side of the window as Samuel kills the Med Tech.

Court fights to get free as an orderly connects her to an IV.

Callaway loosens Paul’s restraints while an ARMED GUARD stands watch nearby.

-- CRASH! The dead Med Tech flies through the glass window, lands hard, gushes blood across the lab’s white floor.

101.

Samuel vaults into the room and attacks the armed guard, kills the man before the guy can draw his gun.

Callaway watches in shock as Samuel goes after the orderlies.

Court has a front-row seat as Samuel attacks.

Paul struggles to regain his wits, sits up on his gurney, removes his restraints.

Samuel finishes off the orderlies and goes after Callaway:

SAMUEL’S P.O.V. - SLOW-MOTION

Lilith hovers behind Samuel, points at Callaway, rages:

BACK TO - REAL-TIME

Samuel goes for Callaway, who is terrified but doesn’t flee.

He tries one last trick that might save his life:

Samuel stops, confused by Lilith’s language.

As Callaway distracts Samuel, Paul goes to Court, tries to loosen her restraints.

Callaway inches toward the dead guard’s discarded GUN.

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel regards Callaway while Lilith flies around the room, apoplectic, shouts down her objections:

102.

BACK TO - REAL-TIME

Callaway goes for the gun. Samuel attacks, overpowers the older man, gets the gun -- points it at Callaway:

Samuel reacts, slowly points the gun toward his own head.

SAMUEL’S P.O.V. - SLOW-MOTION

Samuel’s finger tightens on the trigger, Lilith flutters before him, begs:

BACK TO - REAL-TIME

Samuel can’t fight the programming. Paul shouts at him:

Court rises on the gurney, confused:

SAMUEL’S P.O.V. - SLOW-MOTION

The Clown stands beside Samuel, puts hands on the gun, angles it toward Callaway.

BACK TO - REAL-TIME

Samuel whips the gun away from his head and SHOOTS Callaway. FIRES again -- Callaway dies.

Court gets off the gurney as Samuel aims the gun at Paul.

103.

Before Samuel can FIRE, Court SHOOTS him. Having recovered the gun from the dead Med Tech, who came through the window.

Samuel turns to shoot her -- Court SHOOTS him again, and AGAIN. Until Samuel finally drops, disabled.

Court slumps, exhausted, watches Paul go to Samuel’s side -- there’s nothing to be done, the man’s bleeding out.

SAMUEL’S P.O.V. - SLOW-MOTION

On his back, looking straight up at Lilith, hovering above. Her face riven with despair, she weeps molten tears:

Samuel tracks the descending dot of flame, waiting --

-- The fire tear lands between Samuel’s lips.

BACK TO - REAL-TIME

Paul regards Samuel’s lifeless eyes, notes the dead man’s subtle smile, looks across to Court:

Court’s relieved, grateful to be alive.

EXT. WHITE HOUSE - DAY

TO ESTABLISH.

INT. WHITE HOUSE - OVAL OFFICE - DAY

Court and Director Bennett on a couch, watch the President pour himself a glass of scotch.

He leans against the Resolute desk, drinks, listens.

104.

Court is grateful Gail took the credit for that one. She’s been biding her time -- she enters the fray:

Bennett can’t help but laugh.

105.

Bennett doesn’t buy Court’s bullshit. The President is:

Bennett is both shocked and relieved.

Court hesitates, touches her exposed Mary Medal:

The President smiles, pours drinks for his guests:

Court and Bennett stand to accept their drinks.

106.

The President and Bennett are stunned by her honesty. Court accepts her glass from the President:

They toast. Court and Bennett are amazed how this worked out.

As Court bonds with the President, Bennett drinks nervously.

EXT. PAUL'S HOUSE - FRONT YARD - DAY

Paul, arm in a sling, dressed in workwear, watches a PICKUP TRUCK pull into his driveway, loaded with his DOGS. He watches his FRIEND drop the tailgate and the dogs leap out.

They charge across the yard toward Paul. Then stop, refusing to come closer, barking at Paul like they don’t know him. Paul gets on his knees to meet the dogs at their level:

PAUL’S P.O.V. - SLOW-MOTION

Now we see the world as Paul does. After his time in Callaway’s imager. The colors are faded, like an old Kodak snapshot. Paul’s not alone -- there’s a WOMAN by his side.

We don’t see her face -- but HEAR HER VOICE, soft, loving:

107.

BACK TO - REAL-TIME

The dogs advance warily, tails wagging as they get closer to Paul and he greets them, alone.

FADE TO: BLACK

-- THE END --