FADE IN:
INT. MALL - DAY
The walkways of the mall are full of people. It's the type of congestion that only happens around the holidays.
KAT, a fiery young woman in her early twenties, makes her way through the crowd. She walks past CARTER, a man who moves like a caged beast. Carter walks over to a bench and sits down. He opens up a magazine and begins reading.
Kat walks into
INT. CHAIN BOOKSTORE - CONTINUOUS
The type of place where they make more money off of recent trashy novels and magazines instead of any of the classics. The store is full of people.
Kat walks to the overstuffed magazine rack. She stares at the vast selection, she eyes a copy of Time magazine.
The magazine cover has a picture of a man in a suit, the text under it reads: "Can Senator Womack Clean Up Washington?" She picks it up and casually flips through it.
She takes a step away from the rack and bumps into a LARGE MAN in a suit reading a fishing magazine. She looks startled and takes a step back.
KAT
Excuse me.
LARGE MAN
Not a problem.
Kat steps around the man, leaving him at the magazine rack. She slips a brown leather wallet into her pocket.
She walks to the register and puts her magazine on the counter. The STORE CLERK, a pimply guy with thick glasses, picks up the magazine.
STORE CLERK
Can I help you with anything else today?
She takes out the wallet and pulls out a twenty. She hands it to the cashier.
KAT
Actually, do you have a bathroom that I
could use?
He takes the bill and gives her back her change and a bag with her magazine in it.
STORE CLERK
We do but it's for employees only.
Kat takes the bag and change. She slips the money back into the wallet and puts it in her pocket.
KAT
I understand. It's just I got a lot more
shopping to do and the bathrooms are just
swamped.
Kat flashes him a winning smile.
STORE CLERK
Alright.
The store clerk walks from behind the counter and leads Kat to the back of the store. He takes his keys out and unlocks a door labeled "For Employees Only."
INT. CHAIN BOOKSTORE - BACK ROOM - CONTINUOUS
The store clerk opens the door and the two step back there. There are two doors in the back room, the clerk points at one of them.
STORE CLERK
That one's the bathroom.
KAT
Thanks. I won't be long.
Kat walks to the door the clerk indicated as he turns and
leaves. She stops and walks over to the other door.
She KNOCKS on the door, then presses herself against the
wall behind the door frame
The door opens and the store manager, a balding man in an
ill-fitting suit, steps out.
Kat steps out from behind the door and gives a fast chop
to the back of the manager's neck. He collapses to the
ground.
She steps over his passed out body and walks into
INT. CHAIN BOOKSTORE - OFFICE - CONTINUOUS
A small cramped office with a desk, a video monitor
showing the security tape and a small safe. She kneels
down next to the safe and looks at the electronic lock on
the front of the safe.
She walks over to the desk and grabs a pencil. She picks
up a pencil and rubs it vigorously on a piece of paper.
She takes the piece of paper over to the safe and blows
gently. The carbon residue falls onto the safe, sticking
to certain buttons on the lock.
She presses the buttons. A small light on the safe
blinks red. She presses the same buttons in a different
order. The small light on the safe blinks green and the
LOCK CLICKS unlocked.
Kat opens the safe revealing a small pile of cash. She
takes it out and stashes it in her store bag.
She closes the safe and gets to her feet. She walks over
to the security monitor. She hits stop and rewind. She
hits stop and then record.
She turns and leaves the office.
INT. CHAIN BOOKSTORE - CONTINUOUS
Kat walks out of the back, she looks over at the clerk
who is checking out a new customer. She gives a friendly
wave.
KAT
Thanks.
She walks past the large man and stealthily drops his
wallet in his suit pocket. The man doesn't notice.
Kat walks out of the store and back into the open walkway
of the mall.
INT. MALL - CONTINUOUS
Kat walks to the bench and sits next to Carter. Carter
continues reading his magazine as neither one of them
acknowledges the other's presence.
CARTER
Nice work. Meet you out front.
Kat gets up, leaving the bag behind her. Carter scoops
it and gets up.
Kat walks down the corridor. BRYAN, a young arrogant
teen, walks past her. His head turns as he watches Kat
walk past. He turns around and starts following her.
BRYAN
Hey. So what's a cute thing like you
doing shopping all alone? Hey!
Bryan reaches out for Kat's shoulder. She spins around
and grabs his wrist before he can touch her.
She drives the heel of her palm into Bryan's chin,
knocking his head backwards. She let's go of his wrist,
allowing him to fall to the ground.
Carter stops and looks over his shoulder at the noise.
CARTER
(to himself)
Christ.
Carter turns and resumes his trek to the exit.
Bryan looks up at Kat, his face a mask of confusion.
Kat turns around and walks off.
EXT. MALL - MOMENTS LATER
The mall is a huge concrete block surrounded by a sea of
black parking lots filled with cars all lightly dusted
with snow. It's a gorgeous picturesque day outside.
Kat walks out of the mall's front entrance and walks over
to a small black car. She opens the door and gets in.
INT. BLACK CAR - CONTINUOUS
Kat closes the door behind her. Carter sits behind the
wheel. The bag sits in the back seat.
CARTER
I can't believe you did that.
Carter drives off.
CARTER
What made you think it was a good idea to
attack someone in the middle of a crowded
mall?
KAT
I didn't like that boy.
CARTER
I don't care what you like. You never
ever do anything to draw unnecessary
attention to yourself. You know that.
KAT
He was hitting on me.
CARTER
What if that had been a real mission? Are
you willing to sacrifice national
security because someone hit on you?
KAT
Are you going to report me?
CARTER
I have to.
Kat looks out the window. She watches as the city flies
by.
KAT
I did well, though. Didn't I?
Carter glances over at Kat. He allows himself a brief
smile before his face returns to his usual unreadable
demeanor.
INT. DR. VAUGHN'S OFFICE - AFTERNOON
The room has a large oak table in the middle of it.
There's a wall full of small security monitors which show
hallways, barracks, the gym, the mess hall and small
empty rooms. There's also a large flat screen monitor at
the front of the room, beside Dr. Vaughn's desk.
Along the back wall of the office there is a door and a
window. The window looks down onto a large two story
gymnasium; the door leads to a catwalk that goes along
the wall of the gym. Down on the gym floor, a lone
figure exercises.
Dr. VERONICA VAUGHN, a brilliant but morally lacking
woman, sits behind her desk. Carter stands in front of
her.
DR. VAUGHN
She did what?
CARTER
Don't worry, no one important saw it.
DR. VAUGHN
You do know that our investors are here?
I doubt they'd be so understanding.
CARTER
They never need to know.
DR. VAUGHN
You make sure they don't.
Dr. Vaughn stands up. She walks to the window and looks
down into the gym at the exerciser. It's Kat. She holds
a six foot long bo staff as she goes through her
exercise. She moves as one with her staff.
Dr. Vaughn continues to watch Kat.
DR. VAUGHN
How'd the mission go?
CARTER
Girl's an artist.
Carter turns and leaves. Dr. Vaughn walks back over to
her desk. She hits a button on an intercom.
DR. VAUGHN
Please show the investors in now.
The door opens. Three men walk in each flanked by a
burly bodyguard dressed in a pristine black suit and a
dour expression. These men are SNYDER, JOHANSEN and
STEWART; they are business men with less than reputable
practices.
SNYDER
Was the wait necessary?
DR. VAUGHN
I apologize. A small family affair came
up. Nothing to concern yourself with.
They take their seats while Dr. Vaughn continues to
stand.
DR. VAUGHN
All of you have made a significant
finical contribution to the project.
Today, I can assure that your investments
will soon bear fruit.
INT. GYMNASIUM - CONTINUOUS
The gymnasium is a giant white room with no windows and a
catwalk that goes around where the second floor would be.
A large wooden chest sits in the corner of the room. A
gigantic American flag hangs from the wall.
One of the walls holds a giant electronic board with five
team names, each one based on a color. There is a number
beside each team's name.
Kat is still practicing with her bo stick. She moves
with the steady rhythm of a workout.
Kat is so involved in her workout that she doesn't notice
the door opening and Carter coming into the room.
CARTER
You're not holding the staff firmly
enough. An enemy could knock your weapon
away.
Kat stops and spins around at Carter's voice.
KAT
I didn't hear you come in.
Carter walks over to Kat.
CARTER
You should always be aware of your
surroundings, even when focused on
something else.
Carter eyes Kat.
CARTER
You don't like the bo staff?
KAT
It hasn't been my favorite.
CARTER
You have to learn to improvise. To use
what you have available to you.
KAT
I know.
CARTER
You got a big match today. Andrew's a
tough kid. Do you think you can take
him?
KAT
Yes, sir.
CARTER
Good. You have the ability to take the
lead today.
Kat turns and looks at the scoreboard on the wall.
INSERT: SCOREBOARD
BLUE - 38
BLACK - 37
RED - 27
YELLOW - 26
GREEN - 24
BACK TO SCENE:
KAT
Yeah.
Kat rests one end of the staff on the ground.
KAT
How'd things go with Dr. Vaughn?
CARTER
You're getting a formal censure, it'll be
marked down on your record.
Kat lowers her head slightly.
KAT
I deserve that.
CARTER
Everyone's got some kind of black mark in
their record. Just do well in the game
today.
KAT
Do you have a black mark on your record?
Carter smirks.
CARTER
See you in half an hour.
Carter walks to the door. He stops and glances over his
shoulder at Kat, who has returned to working out. He
goes out the door.
INT. DR. VAUGHN'S OFFICE - CONTINUOUS
Everyone is still seated around the table.
DR. VAUGHN
You were promised the best soldiers for
the next generation of warfare and that's
exactly what you'll get. We've made
numerous improvements. For instance,
we've increased muscular and bone density
as well as lung capacity. We've also
vastly increased red blood cells which
expedites healing. Anything we could
improve on, we did. Whether you believe
in nature or nurture, they'll be the
best.
JOHANSEN
Are they field ready?
DR. VAUGHN
All the subjects here have been prepared
to carry out their missions. To ensure
their ability to blend into normal
society, we've even held mock missions
out in the real world.
STEWART
And they're all enhanced?
DR. VAUGHN
Yes. Although, I think you'll find that
not all missions are the same so we've
worked on creating agents who are
specifically trained to deal with certain
type of missions. We group them into
four categories: infiltrator, messenger,
warrior and leader.
JOHANSEN
And these differences are?
Dr. Vaughn walks over to her desk. She pushes a button
on her intercom.
DR. VAUGHN
(into intercom)
Mr. Wesley, can you please collect Leon?
(to the group)
All subjects receive the same basic
training. They receive extra training
based on their genetic disposition.
Dr. Vaughn picks up a small remote control and returns to
where she was standing. She pushes a button on the
remote.
The flat screen shows a picture of ALISON, a focused
young woman with a mind like a super computer. She sits
in front of a computer, her fingers stretched out over
the keyboard in a frenzy of typing.
DR. VAUGHN
The infiltrator is a person whose main
job is security, both breaking and
entering as well as computer hacking.
Dr. Vaughn pushes the button again. The picture changes
to one of JASON, a young man with a million dollar body
and a five cent head, who's shown punching another boy in
the face.
DR. VAUGHN
The warrior. Trained to engage anyone in
any form of combat. Their speciality is
survival training.
Dr. Vaughn pushes the button again. The picture changes
to one of Kat. Kat sits in front of the computer in a
similar position to the one Alison was in.
DR. VAUGHN
The leader. They've been trained in
combat theory, weapons and strategy.
Dr. Vaughn pushes the button again. It's another picture
of Kat. This time she's shooting a gun in a firing
range.
SNYDER
What's the fourth type?
Dr. Vaughn pushes a button on her remote and turns off
the flat screen. She slips the remote into her coat
pocket and walks to the door.
She opens it to reveal LEON, a slim young man no older
than eighteen, standing on the other side. Two guards
stand at either side of him.
DR. VAUGHN
Please come in Leon.
Leon comes in, leaving the two guards behind him. Dr.
Vaughn leads Leon to the oak table.
SNYDER
What is this?
DR. VAUGHN
A demonstration. Mr. Snyder, I want you
to whisper a phone number to Leon.
Snyder looks up at Dr. Vaughn.
DR. VAUGHN
It doesn't have to be yours. It could be
your mother's or your favorite pizza
place. Or just make up seven numbers.
SNYDER
Alright.
Leon leans over as Snyder whispers into his ear.
DR. VAUGHN
Mr. Johansen. Ask Leon for the number.
JOHANSEN
Leon? What's the number?
Leon stands still. His face blank.
DR. VAUGHN
Feel free to instruct your bodyguard to
help.
Johansen looks over his shoulder at his bodyguard. He
nods. The bodyguard walks over to Leon.
JOHANSEN
Tell me the number.
Leon is silent. Johansen looks over at the bodyguard.
The bodyguard punches Leon in the stomach. Leon lurches
forward. The bodyguard brings his fist down on the back
of Leon's head.
Leon collapses to the floor. He begins to get himself up
when the bodyguard kicks him in the stomach. Leon rolls
over on to his back. He gets to his feet.
DR. VAUGHN
You're going to have to take more drastic
measures, Mr. Johansen.
Mr. Johansen nods at his bodyguard.
The bodyguard pulls a switchblade out of his pocket. The
BLADE slips out with a METAL SCRAPE.
The bodyguard flicks his wrist. The blade cuts across
Leon's cheek. Leon doesn't flinch.
The bodyguard swings the blade again. The blade cuts
through Leon's shirt, drawing a thin line of blood.
The bodyguard pulls the switchblade up and drives it into
Leon's arm. The force of the attack makes Leon step back
but he issues no scream.
DR. VAUGHN
(to bodyguard)
That'll do.
The bodyguard pulls out and sheathes his knife. He
returns it to his jacket pocket and walks to his place
behind Johansen.
DR. VAUGHN
Your man could've carved him up like a
Thanksgiving turkey and he still wouldn't
of told you anything.
SNYDER
How can you be sure?
DR. VAUGHN
Leon. Take off your shirt.
Leon removes his shirt and turns around. His back is
covered with thin white scars.
STEWART
What have you done to him?
DR. VAUGHN
Interrogated him the same way that the
government would if they were to catch
him. In the past two years he's never
given up a single number to an
unauthorized agent.
DR. VAUGHN
Leon, what was the number?
LEON
212-555-9877.
Dr. Vaughn picks up Leon's shirt and hands it to him.
DR. VAUGHN
Thank you, Leon. Why don't you go get
ready for the game.
Leon puts his shirt back on as he walks out of the door.
DR. VAUGHN
Gentlemen, we live in a time when
information is key. Letters can be
intercepted, phones can be tapped, e
mails can be hacked. But any information
given to a messenger stays locked inside
of his head until he reaches the person
who the message was intended for.
The men sit in silence.
DR. VAUGHN
Now, if you gentlemen will follow me.
The game's already started.
Dr. Vaughn walks to the door along the back wall of her
office. The senators follow her, their bodyguards close
behind.
They walk into
INT. GYMNASIUM - CONTINUOUS
The group walks along the catwalk. They each stand where
they can see the action below them.
The gym now bustles with twenty young people ranging from
sixteen to twenty, most of them sit in chairs along the
sides of a large blue mat. Two people stand in the
middle.
Down on the gymnasium floor, Jason and BRANDON, the most
arrogant son of a bitch ever to walk God's Green earth,
both clutch bo staffs as they circle each other on the
mat.
Jason comes forward with his staff. Brandon steps back,
easily avoiding the attack.
Jason swings his staff, Brandon blocks it and knocks
Jason's legs out from under him.
Jason lands on the mat with a THUD.
Jason scrambles to his feet and swings at Brandon.
Brandon easily blocks it.
Jason charges at Brandon.
Brandon sidesteps him, tripping Jason as he runs past.
Brandon hits Jason in the back of the head with his
staff.
Jason lays on the mat for a moment, groaning.
Brandon raises his staff and brings it down savagely on
Jason's head. He does it again and again.
Carter walks on to the mat and grabs the bloody end of
Brandon's staff as it is about to smash into Jason's head
for a fourth time.
CARTER
Win to Brandon. Black still leads, 2 to
1.
Brandon smiles and walks off the mat. Kat comes out and
helps a groggy and bloody Jason limp back to his chair.
He rests his head on her shoulder. She runs her hand
along his cheek.
CARTER
Captains?
Carter walks off the mat as a small but feisty young man,
ANDREW, stands up with a smirk on his face. He walks
onto the mat.
Carter looks over at Kat who is still cradling Jason's
head in her arms.
CARTER
(slightly irritated)
Captains?
Kat lets go of Jason's head. He leans to the other side,
leaning on another teammate. Kat stands up and joins
Andrew on the mat.
CARTER
Ready.
They both raise their staffs and lightly touch them
against each other.
CARTER
Go.
The two combatants go at each other with a fierce
intensity. They look more like living blurs than people.
One attacks, the other blocks. One jabs, the other
parries.
Andrew swings his staff, hitting Kat across her face and
knocking her down to the ground.
Jason and her other teammates rise to their feet.
Kat gets up, she runs the back of her hand over her nose.
It comes away bloody.
Andrew lunges, the end of his staff hitting Kat hard in
her stomach. She bends over in pain. Andrew brings the
staff upwards, smacking her in the face again.
Kat stumbles backwards. Andrew smiles.
Kat glowers at Andrew. She breaks her staff in half over
her knee.
Andrew stares in confusion.
Kat comes at him, one of the sticks coming towards his
head the other coming down towards his knee.
Andrew blocks the one aimed at his head.
The other stick crashes into his knee. Andrew grimaces.
Andrew attacks, Kat uses one of the halves to block the
attack while she uses the other to retaliate.
Andrew, enraged now, begins to pour it on. Putting on
attack after attack.
Kat continues to block and counterattack.
Andrew steps back and brings his staff over his head,
ready to snap his in half. With his staff up, Kat kicks
Andrew in the chest, forcing him to drop the staff and
knocking him onto his back.
Kat straddles Andrew, pinning his arms down to the mat
with her knees. She presses one of the halves of her
staff against his throat.
Carter walks on to the mat.
CARTER
Win to Kat. Black wins 3 to 1.
Kat rolls off of Andrew and gets to her feet.
ANDREW
Foul! She cheated.
His teammates rush to the mat to help Andrew up. He
refuses their aid and gets to his feet on his own.
CARTER
She had the same weapon you did. She
just improvised. But that's not why she
won.
Carter looks towards the crowd.
CARTER
Can anyone tell me why Kat won? Anyone.
JASON
Better strategy?
CARTER
No.
Kat looks over at Andrew, who's nurturing his bruised
ego.
ALISON
He lost control.
CARTER
Exactly. Never let your emotions dictate
your actions. You gotta fight with your
head. Wait for an opening and then take
it. No anger, no remorse.
Carter pulls out a small remote. He pushes some of the
buttons on it.
Everyone looks up at the scoreboard as the numbers begin
to change.
INSERT: SCOREBOARD
BLACK - 40
BLUE - 39
RED - 30
YELLOW - 27
GREEN - 24
BACK TO SCENE:
CARTER
Now, lets see if the Black can hold on to
their lead. Dismissed.
Everyone turns and heads for the door.
INT. SICK BAY - CONTINUOUS
Andrew sits on the doctor's examining table. DR. HANKIN,
a slim man with tiny glasses, injects a hypodermic needle
into Andrew's forearm.
In the back of the room is a row of three uncomfortable
looking beds. Jason lies in one of them, his face
swollen and bruised.
DR. HANKIN
There you go.
Kat enters the room just as Dr. Hankin removes the needle
from Andrew's forearm. Her nose looks perfectly normal,
there's no trace that it had recently been injured.
Andrew hops off the table and on to his feet and walks
out of the room. As he passes Kat, he angrily bumps her
shoulder.
Kat watches him leave. She sits down on the table.
Dr. Hankin picks up a new syringe and a small bottle of a
clear liquid off a silver tray. He plunges the needle
into the bottle and draws the liquid into the syringe.
Dr. Hankin sticks the needle into Kat's arm and pushes
the plunger down, injecting her with the clear liquid.
DR. HANKIN
See you tomorrow.
Kat jumps off the table and walks over to Jason's bed
while Dr. Hankin walks into his office in the back of the
room.
KAT
How are you feeling?
JASON
A lot better since you came in. Dr.
Hankin wants me to stay overnight, make
sure I don't have any brain damage or
anything.
Kat glances quickly over her shoulder. Dr. Hankin
KAT
And here I was, hoping you'd feel up to
celebrating our victory.
JASON
I'm always up for celebrating.
KAT
Oh really?
Kat puts her hand on Jason's stomach and presses down.
Jason grimaces.
JASON
Ow!
(beat)
Okay. Maybe later.
KAT
I was thinking about tonight. After
lights out.
JASON
Oh no. Not again. Not after last time.
KAT
What? We didn't get caught, did we?
JASON
No, but we almost did.
KAT
I've been listening to the guard's
footsteps. I'm pretty sure I figured out
when the shifts change over.
JASON
And the cameras?
KAT
I've got a plan. I'll hack into the
system and put the surveillance camera
into a loop. Anyone who looks in will
see you lying in bed and nothing more.
Jason smiles naughtily.
JASON
Alright. When's the shift change?
KAT
Oh-two-hundred. I'll sneak in here.
Jason squeezes Kat's hand.
KAT
I've got to go. But I'll see you
tonight.
Kat stands up and walks out of sick bay.
INT. HALLWAY - CONTINUOUS
Kat walks down the hall. She walks past a room numbered
"101" and goes to the corner. She presses her body
against the wall and peers around the edge. No one's
down that hall.
She walks back to the room "101" and tries the knob. It
doesn't give. She falls to her knees and looks at the
keyhole.
She slips her watch off and places it on the ground. She
brings the heel of her hand down on the watch's face,
SHATTERING the GLASS.
Kat fishes out a small metal spring from the remains of
her broken watch. She stretches it out and folds it
over. She sticks the slim piece of metal into the
keyhole and begins working it around.
Kat works the strip of metal manically. The LOCK gives a
faint CLICK. Kat opens the door and goes inside. The
door opens again, Kat's hand comes out and drags the
broken pieces of her watch into the room.
INT. ROOM 101 - CONTINUOUS
The small gray room houses several computer workstations,
each one has a large divider separating each one.
Kat sits down at one of the workstations and begins
typing furiously on the keyboard.
Her monitor brings up a bevy of black and white
surveillance video feeds, including one of the room
that's she in.
She brings up the video of the sick bay. Jason lays in
bed, completely still. A small red icon at the top of
the screen blinks indicating "RECORDING". Kat types.
The icon turns into a green circle.
Kat smiles.
She returns to the menu of video feeds. Motion in Dr.
Vaughn's office catches her eye. She enlarges the
footage. The three men and their bodyguards are still
discussing things with Dr. Vaughn.
Kat leans in closer to the screen. Her eyes fixed
tightly on the men's lips.
KAT
(lip-reading)
How long until we can send them out on
assignment?
(beat)
Few weeks.
(beat)
We need one active now. Senator Womack
is stirring up trouble. He could prove
quite a challenge.
(beat)
In three week's time, the Senator won't
be bothering you anymore.
Kat closes the surveillance program. She looks
perplexed. She stands up and walks out of the room.
INT. HALLWAY - CONTINUOUS
She walks down the hall, her mind racing. Two guards
pass by her in the hallway, taking no notice of her. Kat
turns and looks at them as they pass.
An assault rifle dangles from one of the men's shoulders.
Kat stares at it, her brow furrowed.
INT. WOMEN'S BARRACKS - NIGHT
Kat lies in her bunk and although she's dressed in a pair
of pajamas, her eyes are wide open as she stares at the
ceiling.
Kat hops out of her bed and creeps past her sleeping
comrades to the front door. She pauses. She places her
ear against the door.
She hears the sound of HEAVY BOOTS WALKING AWAY. She
opens the door and sneaks out.
INT. HALLWAY - CONTINUOUS
Two guards walk around the corner as Kat steps out of the
door marked "WOMEN'S BARRACKS."
She rounds the corner and walks down the hall, going past
a few doors. She gets to the next corner. She peeks
around the corner. The coast is clear.
She runs down and goes to the door labeled "SICK BAY."
She opens it and walks in.
INT. SICK BAY - CONTINUOUS
Kat walks over to Jason's bed. Jason's face looks to
have perfectly healed, as if he'd never been attacked in
the first place.
He removes his shirt and tosses it aside as Kat sits on
the edge of the bed. He scoots closer to her and wraps
his arms around her.
Jason's smile fades as he notices Kat's blank stare.
JASON
You okay?
KAT
I've just been thinking.
Jason sighs and leans back in bed. He leans over, scoops
his shirt up and slips it back on.
JASON
About what?
KAT
Have you ever noticed the guards?
JASON
Kinda hard not to.
KAT
No, why do they have guns?
JASON
To keep us safe. Why else would they?
KAT
Safe from whom? We're trapped here.
JASON
We're not trapped. We're being trained.
Kat's gaze seems to drift off. When she speaks it's more
like thinking out loud than trying to hold a
conversation.
KAT
They never allow us to leave, they keep
us on a strict schedule. They tell us
we're working for the government but how
would we know?
JASON
Kat, you're rambling. Are you sure
you're feeling alright?
Kat snaps out of her daze. She runs her hand over his
cheek.
KAT
You love me, right?
Jason gives no physical reaction to Kat's touch.
JASON
You know how I feel about you.
KAT
Then let's leave.
JASON
Leave? What do you mean leave?
KAT
Tonight. Let's get out of here. Run
away.
JASON
We can't do that.
KAT
Please. I'm not sure if I can go without
you.
JASON
I don't know... I don't think...
Jason trails off. He clenches his eyes shut. He opens
them again and looks at Kat.
JASON
Give me until tomorrow. Let me think it
through.
Kat looks at Jason.
KAT
Of course.
JASON
I think I'm tired. I'm just gonna get
some sleep.
KAT
Alright.
Kat stands up and walks to the door. She turns and looks
over her shoulder at Jason. He's lost in thought.
INT. HALLWAY - CONTINUOUS
The door to sick bay opens and Jason walks out. He turns
and walks down the hall with little concern for stealth.
He comes to two guards. The guards turn with a start as
they see Jason round the corner.
GUARD 1
What are you doing out of the barracks?
JASON
I must speak to Dr. Vaughn.
The two guards look at each other.
JASON
What are you looking at him for? Take me
to see Dr. Vaughn now.
The two guards turn and escort Jason down the corridor.
Around the corner, Kat's pressed up against the wall
eavesdropping on the conversation. She turns and runs
the opposite way down the hall.
Kat rounds a corner. Two guards who are walking down the
hall, stop and turns around at the sound of KAT'S
FOOTSTEPS. They look at her with extreme confusion.
GUARD 2
What the fu--
Kat shoves her head forward, CRASHING the top of her head
into one of the guard's noses with an EXPLOSION of BLOOD.
Kat drops to the ground and kicks the other guard's feet
out from under him. He falls backwards, hitting his head
hard on the ground.
She crawls on top of him and wraps one of her hands
tightly around his throat. She leans in closely.
KAT
You have exactly two seconds to give me
your keys.
INT. DR. VAUGHN'S OFFICE - CONTINUOUS
Jason sits at the table, a guard stands at either side of
him. The door opens and Dr. Vaughn, looking out of
sorts, storms into her office.
DR. VAUGHN
This better be good.
JASON
Kat plans to go rogue.
DR. VAUGHN
Rogue?
JASON
Yes, ma'am. She's planning to escape.
Dr. Vaughn smiles as she walks over to her desk.
DR. VAUGHN
A note of this will be made on your
record and will reflect well when it
comes time for your first assignment.
JASON
Thank you, ma'am.
Dr. Vaughn looks over at the guard.
DR. VAUGHN
Please escort him back to his room.
Jason stands up and the two guards usher him out of the
office. Dr. Vaughn pushes a button on her intercom.
DR. VAUGHN
Mr. Wesley, I want you to increase
security around the women's barracks. We
have a potential flight risk.
Dr. Vaughn looks up at the security monitors and notices
the two unconscious guards lying in the hallway. She
presses her intercom again.
DR. VAUGHN
Initiate immediate lockdown! I repeat:
initiate lockdown. We have an escaped
agent.
WESLEY (V.O.)
Dr. Vaughn, we've got a breach in the
perimeter.
DR. VAUGHN
Capture her immediately and get Carter in
here right now. Tell the guards to avoid
lethal measures if at all possible.
EXT. WILDERNESS - NIGHT
It's dark. There's no light except the moonlight
reflected off the snow.
A helicopter uses its powerful searchlight to scour over
the countryside. The light illuminates the trees and
hillside. Then just as quickly as it came, it moves on.
A lone shadowy figure runs through the still night. Kat
runs across the landscape. Despite her strenuous effort,
her breathing is regular and even. She looks over her
shoulder as she runs.
She stops and cranes her neck, straining to listen. She
whips her head around.
SNOWMOBILES GROWL in the distance.
The spotlight suddenly appears around Kat.
Frozen, she stares up at the helicopter.
She turns and runs, the helicopter and its spotlight
following after her.
Kat sees a grove of trees in front of her. Without
slowing down, she runs into them.
EXT. FOREST - CONTINUOUS
The trees are thick and block out much of the moonlight.
The trees are not close enough together, however, to
prevent easy movement amongst them.
Kat stops as she realizes that the spotlight did not
follow her.
She looks over her shoulder as the GROWL of the
SNOWMOBILES has grown into a ROAR.
Silhouettes of the snowmobiles grow larger and more
distinct.
Kat continues running.
EXT. WILDERNESS - CONTINUOUS
The snowmobile riders are clad in thick white combat gear
and dark goggles. AK-47s sit on straps over their
shoulders.
They ride along the snow, their headlights shine over the
footprints left behind by Kat.
They arrive at the edge of trees and follow in.
EXT. FOREST - CONTINUOUS
The riders soar through woods, still following the snowy
footprints left behind in the snow.
Suddenly the footprints stop.
The riders stop and kill their engines.
The rider in front, obviously the leader of the group,
gets off his snow mobile and takes his AK-47 off his
shoulder.
He points at two of the other riders and motion to the
left. He then points at the other two riders and jerks
his thumb to the right.
The other men cut their own engines, get off their
snowmobiles and pick up their own guns.
With their snowmobile headlights now off, only small
lights attached to their barrels of their guns illuminate
the dark forest.
The group leader takes careful steps around. He takes
his goggles off, his eyes darting through the darkness.
A tree branch snaps, shattering the silence.
The leader looks up at the tree in front of him.
Kat's body comes hurtling down, a branch in her hand.
Kat lands on top of the leader, knocking him to the
ground.
The guard tries to get to his feet but Kat smacks him
with the branch, knocking him unconscious.
The remaining four guards turn around, pointing their
guns in Kat's direction.
Kat drops and rolls forward as bullets hit the tree
trunks behind Kat.
Kat disappears into the darkness behind the trees.
The guards cautiously walk towards their fallen comrade.
One of them leans over and takes the man's pulse.
Footfalls in the snow make the guards look behind them.
Kat pops out from behind a tree and spin kicks a guard in
the face, knocking him down.
She whips another guard in the face with the branch,
stunning him.
She grabs and holds the guard in front of her, using him
as a human shield.
The other two guards open fire at Kat, their bullets
riddling their fellow guard's body.
Kat reaches around the guard's body, brandishing his gun
and open fires on the two.
The two guards gyrate as the bullets hit and tear through
them. Both guards then both collapse.
Kat lets go of the dead guard and tosses the gun into the
snow.
She runs over to one of the snow mobiles and starts it
back up.
She climbs on and drives off.
INT. DR. VAUGHN'S OFFICE - NIGHT
Dr. Vaughn stands in front of the security monitors.
Dr. Vaughn turns as the door opens. Carter walks into
the room.
CARTER
Why'd you call me in here?
DR. VAUGHN
Kat's escaped.
Carter lets out a small bemused laugh.
DR. VAUGHN
What's so funny?
CARTER
Nothing. I'm just proud of her is all.
DR. VAUGHN
Proud?
CARTER
How many guards did she kill?
Dr. Vaughn looks down at her feet.
DR. VAUGHN
Three and incapacitated several others.
Carter tsks.
CARTER
Sloppy. She should know by now not to
let an enemy live.
DR. VAUGHN
Those "enemies" are our guards and the
people you trained.
CARTER
In that fight, they were her enemy. This
is the first time that we really got to
see her in action, not just pulling some
stupid stunt in a mall. If she's this
sloppy, she's far from field ready. I'll
have to discipline her after I bring her
back.
DR. VAUGHN
You're assuming you can catch her?
In one swift motion, Carter gets to his feet and moves
close to Dr. Vaughn.
CARTER
My dear doctor. I assume nothing.
Carter leans in, inches away from Dr. Vaughn's face.
CARTER
I know.
Carter turns and walks towards the door.
DR. VAUGHN
Carter, wait.
Carter stops and turns to face Dr. Vaughn.
DR. VAUGHN
I don't want you on this.
CARTER
What?
DR. VAUGHN
I need you to continue training the
others. We're getting too close to lose
our focus now.
CARTER
Who were you thinking of sending?
DR. VAUGHN
Brandon.
CARTER
Brandon? I don't think--
DR. VAUGHN
I want you to brief him and dispatch him
immediately.
CARTER
Fine.
DR. VAUGHN
But you must hurry. She's dying.
Carter takes a step closer to Dr. Vaughn.
CARTER
What?
DR. VAUGHN
It's her cells. If she doesn't get back
here for continued gene treatment within
the week, her cells will break down.
Carter smiles broadly.
CARTER
A contingency plan? How devious of you.
DR. VAUGHN
It's not devious. She's a genetic
anomaly and needs her gene therapy. At
least until all of her cells have
stabilized.
CARTER
Fine. I'll make sure that Brandon knows
that time is of the essence.
DR. VAUGHN
There's no need to let Brandon know why
he needs to expedite things.
It might complicate matters if he were to
know about the potential side-effects of
his own treatment.
CARTER
Of course.
Carter turns and walks out of the room.
INT. ROOM 25 - NIGHT
The room is entirely empty, not even one piece of
furniture. The door opens. Carter and Brandon come in.
They enter the room and Carter shuts the door behind
them.
BRANDON
I've never been in this room before.
CARTER
None of you have.
BRANDON
Why isn't there anything in here?
CARTER
It's hard to hide a bug if there's
nowhere to hide it.
Carter puts a folder in Brandon's hand. Brandon looks
down at the file.
BRANDON
Am I too assume then that I'm being given
an assignment?
CARTER
Yes. Last night, at approximately oh-two
fifteen, Kat went AWOL. You are to bring
her back here alive.
BRANDON
She escaped?
CARTER
Yes. This file has a pretty thorough
psyche evaluation on her which should
help you.
Carter pulls a cellphone out of his pocket and hands it
to Brandon.
CARTER
Here. Take this. You're to call with
status updates every four hours. The
number you're going to call is 781-555
2052. Now, memorize that folder and
leave it in this room. Then report
upstairs. You'll be escorted out.
BRANDON
What about op-tech?
CARTER
You're not getting anything. You're to
track her down using only what you have
on you. Since she escaped in only her
pajamas, you shouldn't need much more
than that.
BRANDON
What's my time table?
CARTER
It is imperative that you perform this
task expeditiously. You have four days
to locate and return with Kat.
(beat)
Any other questions?
BRANDON
No, sir.
CARTER
Good. I leave you to it.
Carter leaves the room while Brandon begins to intently
read the folder.
EXT. WILDERNESS - DAWN
Slivers of sunlight have started to peak through the sky.
Kat's snowmobile starts to sputter and then slow.
Kat gets off the snowmobile and begins to walk.
EXT. TOWN - MORNING
Kat walks through the still sleeping town. It's a quaint
town but one with signs of growth.
She sees a small house with laundry hanging on the line.
Kat looks around and then goes behind the house.
She walks over to the laundry line and removes some
rather large and unflattering clothes and runs off,
clutching the clothes under her arm.
EXT. POLICE STATION - DAY
Kat, now wearing the ill-fitting stolen clothes instead
of her pajamas, walks up to the police station and goes
in.
INT. POLICE STATION - CONTINUOUS
Kat walks up to the DESK SERGEANT, a fat balding man with
little to do in life. Behind the sergeant is a large
open room filled with people working at desks; tiny
offices line the back wall.
KAT
I'd like to report a crime.
Without looking up, the desk sergeant picks up a form and
slides it over to Kat.
DESK SERGEANT
Fill this out.
Kat looks down at the form.
KAT
No. This is a complaint. I need to file
charges.
The sergeant looks at Kat.
DESK SERGEANT
For what?
KAT
Kidnapping.
INT. DETECTIVE WALKENS OFFICE - LATER
The tiny office is crammed with files and random paper.
A small file cabinet in the back of the room appears to
have never been used. Kat sits in a chair in front of a
large window. She looks around the room, drinking in her
surroundings.
The door opens. DETECTIVE WALKENS, a messy but well
meaning man, comes in. He walks behind his desk and sits
down.
DETECTIVE WALKENS
Hello. My name's Detective Walkens.
I've been told you've been kidnapped?
KAT
Yes I was, along with several others.
Twenty in all.
Detective Walkens begins to dig through the pile of
things on his desk looking for a blank legal pad.
DETECTIVE WALKENS
Can you tell me about it?
KAT
Well, I didn't know what was going on at
first. It was only recently that I
figured it out and escaped.
Detective Walkens finds a legal pad but there's not a
clean page so he tosses it aside and resumes his search.
DETECTIVE WALKENS
Uh-huh.
KAT
We were held captive our entire lives,
raised under the impression that we'd be
used for government black ops work.
Detective Walkens stops searching. He arches an eyebrow.
DETECTIVE WALKENS
Black ops?
KAT
Yes. Meaning we'd perform missions that
the government couldn't acknowledge for
diplomatic reasons but that were
necessary for the safety of the country.
DETECTIVE WALKENS
Uh-huh.
KAT
It was only recently that I discovered
that we were being lied to.
That instead of being raised by the
government, we were being raised by a
secret terrorist organization with
intentions of global domination.
DETECTIVE WALKENS
Terrorists?
KAT
Yes.
DETECTIVE WALKENS
Who wanted to rule the world?
Kat looks at Detective Walkens oddly. She doesn't
understand him.
KAT
(innocently)
Why do you keep repeating what I'm
saying? Am I speaking too quickly?
DETECTIVE WALKENS
Oh no. I read you loud and clear. Could
you... could you hang for just a sec?
KAT
I am sure that I could.
Detective Walkens gets up and leaves the room. Kat looks
around the office. She sees a picture frame on the
detective's desk. She walks over to it and picks it up.
The picture is of the detective with his wife and baby
daughter. Kat runs a finger longingly over the picture.
She returns the frame to its place on the desk.
She looks through the doorway into the police station.
She sees Detective Walkens coming towards the office,
flanked by two officers. They all look very serious.
One of them pulls a pair of handcuffs of his belt.
Kat walks out the office door.
INT. POLICE STATION - CONTINUOUS
The three men stop as they see her leave the office.
KAT
What's going on?
DETECTIVE WALKENS
These officers have some questions they
want to ask you. Why don't we go to a
private interview room?
Kat looks at the officers. Neither one of them looks
like they'd make for good conversation.
KAT
No. I think I better leave.
DETECTIVE WALKENS
I'm afraid, we can't just let you leave.
One of the officers takes a step forward. Kat runs
forward, jumps on a desk. She leaps over the three men
and heads for the door.
DETECTIVE WALKENS
Stop her!
Kat continues to run. An officer tries to grab her but
she ducks under his grasp.
She heads out the door.
EXT. POLICE STATION - CONTINUOUS
Kat runs down the stairs and keeps running. Detective
Walkens comes out of the door with the two officers. The
three men watch as Kat runs away.
DETECTIVE WALKENS
Put out an APB. She needs to be found
before she hurts herself. Or anyone
else.
EXT. WILDERNESS - DAY
Brandon walks along the snow. He walks up to the
snowmobile Kat abandoned.
He runs his hand over the motor, feeling its grown cold.
He looks at the gas gauge. Empty.
He looks at the side of the snowmobile and sees tracks in
the snow that head off towards the south.
Brandon follows them off towards a small town on the
horizon.
EXT. ROAD - DAY
Kat walks down the side of the road. A CAR ROARS off in
the distance. Kat sticks out her thumb.
The car, a red mini-van, slows down and pulls over to the
side. Kat runs to the passenger side and gets in the
car.
EXT. CITY STREETS - DAY
It's a small run down city. Spray paint mars the walls
and homeless people sleep on the sidewalk.
She gets out the mini-van and steps onto the sidewalk.
Kat glances over her shoulder at the driver.
KAT
Thanks.
The mini-van drives off as Kat sees a diner and goes in.
INT. DINER - CONTINUOUS
A real greasy spoon diner, the type of place where the
regular customers don't just know the waitresses names,
they also know the people who work the grills.
Kat walks up to the counter and sits down on one of the
stools next to RALPH, the happiest man in the world if
you ranked happiness in how rarely you deny yourself.
The waitress walks over to Kat. Her name tag reveals her
as SANDY, a woman far younger than her appearance and
demeanor let on.
SANDY
What can I get you, honey?
Kat looks down, avoiding eye contact.
KAT
Soup please.
SANDY
Sure. What kind? We got chicken noodle
and clam chowder.
KAT
Chicken. Can I get that to go?
SANDY
Sure can, sweet thing.
Sandy walks off.
Kat sneaks her hand into Ralph's pocket and pilfers his
wallet. She sneaks it into her own pocket.
Sandy returns to the counter, placing the small container
of soup down in front of Kat.
SANDY
Four eighty.
Kat pulls a couple of bills out of Ralph's wallet and
puts them down on the counter. Sandy scoops up the money
and begins to sort out her change.
KAT
Keep the change.
SANDY
Thank you kindly.
The door opens. Kat looks up at the mirror behind the
counter.
COP 1 and COP 2, both fine upstanding enforcers of the
law, walk in and sit down next to Kat.
COP 1
Hey, Sandy, get me one of those waffles.
You know, with the blueberries and stuff.
SANDY
Sure, just hold on one second.
Kat stands up and steps away from the counter. She turns
and walks towards the door. Cop 2 watches Kat, then
nudges his partner with his elbow. He leans over and
whispers into his partner's ear.
Cop 1 turns to watch while Cop 2 stands up.
Ralph reaches into his pocket but can't find his wallet.
He begins mumbling to himself as he pats himself down.
Frustrated, he gives up the search.
RALPH
Hey! Where the fuck is my wallet?
Kat runs out the door. Cop 2 starts after her.
EXT. CITY STREETS - CONTINUOUS
Kat runs down the streets, the young officer in hot
pursuit.
Cop 1 leaves the diner and rushes into the police cruiser
and starts the car.
Kat is now running at full tilt, leaving the police
officer far behind.
Suddenly, the cop car comes speeding by. The car quickly
turns in front of Kat, blocking her way.
Kat stops and turns around to see Cop 2 catching up to
her. Kat holds her hands up, palms forward trying to
calm the police down.
As Cop 2 stands a few yards away, Cop 1 gets out of the
car and begins walking towards Kat.
COP 2
You the girlie they been looking for?
KAT
I don't want to hurt you.
COP 2
Good. We don't hurt to you either. Now
get down on the ground.
KAT
I'm afraid I can't do that.
Both cops pull out their batons.
COP 2
Lady, I ain't gonna tell you again.
KAT
I am sorry but I've already told you that
I can't allow you to apprehend me.
The cop swings his baton at Kat's head.
Acting on instinct, Kat catches the cop's wrist and turns
it, forcing the officer to drop his weapon.
In the same fluid motion, Kat punches the officer in the
stomach, sending the cop to his knees.
KAT
I'm sorry. I didn't want to do that.
Cop 1 charges at Kat.
Kat leans backwards, stretching her leg out. The cop
trips and flies forward.
KAT
Please, just allow me to leave.
Cop 2 gets to his feet and tries to punch Kat, who easily
deflects the blow.
KAT
We can--
The cop swings with his other fist and again Kat deflects
the punch.
KAT
--just forget this and--
COP 2
Argh!
Cop 2 swings at Kat. Kat sidesteps the punch.
The cop's fist EXPLODES through the PASSENGER SIDE WINDOW
of the police cruiser.
COP 2
Motherfu--
Cop 1 appears behind Kat.
KAT
I am so sor--
Cop 1 wraps his baton around Kat's throat. Kat coughs
and makes choking noises.
Cop 2 punches Kat in the stomach.
Kat rears her head back, SMASHING it into COP 1'S NOSE.
Cop 1 falls to the ground.
Cop 2 stares in horror and surprise at Kat.
In a flash of motion, Kat wraps her arms around Cop 2's
neck, putting him in a sleeper hold.
Cop 2 tries to fight her but her grip holds fast. His
movements become more and more sluggish as his eyes droop
close.
KAT
(whispering)
Go to sleep. Go to sleep.
Cop 2 goes limp in Kat's arms as he passes out.
Kat gently lowers Cop 2 to the ground, then takes the
cop's pulse. Kat nods in approval.
Kat stands up and runs off.
INT. BUS TERMINAL - DAY
The bus terminal is sparse. A lone ticket booth houses a
bored old woman, MS. ROTH. Kat walks into the terminal
and makes her way up to the booth.
KAT
One ticket please.
Ms. Roth looks at Kat with a mix of concern and pity.
She delicately covers her mouth with her hand.
MS. ROTH
Are things rough at home?
KAT
Things are quite satisfactory. I just
wish to go on a trip.
MS. ROTH
Where to, honey?
KAT
Seattle.
MS. ROTH
That'll be fifty dollars.
Kat puts the money down on the counter and slides it to
Ms. Roth.
KAT
Here you go.
INT. TOWN - DAY
Brandon walks into town. He looks around him at the
buildings as he walks past each one.
INT. POLICE STATION - DAY
Brandon walks up to the desk sergeant.
BRANDON
Excuse me. I'm looking for my little
sister. She ran away from home.
Without looking up, the desk sergeant picks up a form and
slides it over to Brandon.
DESK SERGEANT
Fill this out.
Brandon pulls out a pen and leans over the desk. He
begins to fill out the form. He glances up.
A rough sketch of a female face is now posted on a pillar
among the desks. Brandon stares at the drawing. It's
Kat.
EXT. POLICE STATION - CONTINUOUS
Brandon walks out, pulling his cellphone out of his
pocket. He quickly dials.
BRANDON
Carter, she was spotted in a police
station. They've apparently put out a
bulletin. I need you to check out all
potential responses to it.
INT. HALLWAY - CONTINUOUS
Carter, on the phone, prowls down the hallway with a
sneer on his face. If looks could kill, Carter would be
committing genocide right now.
CARTER
First off, don't you ever, ever even
think that you are in a position to give
me something even vaguely resembling an
order. Second, it's not our job to
access and filter information.
It's yours. If you feel you're not up to
the task, let me know right now and I can
pull you off this assignment.
EXT. POLICE STATION - CONTINUOUS
Brandon swallows.
BRANDON
No. I'm good.
INT. HALLWAY - CONTINUOUS
Carter continues to march down the hall.
CARTER
Good. Now I'm going to forgot your
momentary lack of competence and you're
going to figure out for yourself whether
or not any other police have spotted Kat.
Is that anything less than perfectly
clear?
BRANDON (V.O.)
No, sir. I'm sorry I--
Carter, his snarl turning into a smile, hangs up the
phone and slips it into his pocket.
INT. POLICE STATION - CONTINUOUS
Brandon walks back up to the desk sergeant. The sergeant
doesn't register his presence. Brandon knocks on the
desk. The sergeant looks up. Brandon points at the
sketch of Kat.
BRANDON
That's my sister. Has anyone seen her?
INT. BUS - DAY
Kat sits on the bus. She looks out the window at the
rolling pasture that goes by. She places her hand on the
cool glass.
EXT. SEATTLE BUS STATION - DAY
Kat walks out of the bus station. She runs across the
street into Easy Shop, a large convenience store.
INT. EASY SHOP - DAY
Kat stops halfway down one of the fluorescent lit aisles
and grabs a box of hair color.
INT. BUS TERMINAL - DAY
The bus terminal is just as dead as before. Brandon
walks up to the ticket booth and knocks on the glass.
Ms. Roth puts down a TV Guide and looks up.
MS. ROTH
Where to?
Brandon shows her the sketch of Kat.
BRANDON
Have you seen my sister?
Ms. Roth studies the flier closely.
BRANDON
She ran away from home. I know that she
escaped from two police officers a few
blocks from here. Did she buy a ticket?
MS. ROTH
Yeah, yeah she did. You know, my niece
ran away from home once. Of course, she
came back a week later. Always looking
for attention, that one.
BRANDON
Uh huh. Do you remember where she was
headed?
MS. ROTH
Your sister you say? Was everything okay
at home?
BRANDON
It was fine. Do you remember where she
bought a ticket to?
MS. ROTH
Yeah. Said she wanted to go Seattle.
BRANDON
One ticket for Seattle, please.
MS. ROTH
Sure. Fifty dollars.
Brandon pulls out a black leather wallet. He takes fifty
dollars out and slips it to Ms. Roth.
INT. LAUNDROMAT - DAY
Despite the few washers and dryers running, the
laundromat is almost completely devoid of people.
Kat walks over to one of the dryers. She opens it and
takes out an armful of clothes before turning around and
heading out of the laundromat.
INT. BATHROOM - DAY
Kat stands in front of the mirror. She's wearing new,
much better fitting clothes and wears a shower cap. She
takes off the cap revealing new intense blonde hair.
She sticks her head into the sink and runs cold water
over her head. She dries her hair with her old clothes.
She picks up the scissors and grabs a handful of hair.
She begins to cut.
EXT. SEATTLE BUS STATION - DAY
Brandon walks out of the bus station. He looks around
him but all he sees is the foot traffic of downtown
Seattle. He grabs a man in a business suit passing by
and shows him the flyer.
BRANDON
Have you seen this woman?
The man angrily pushes Brandon away and keeps on walking.
Brandon begins to approach another person but they veer
off course to avoid him.
Brandon pulls out his cell phone. Dials. Waits.
BRANDON
I've tracked her to Seattle.
CARTER (V.O.)
Where in Seattle?
BRANDON
I'm not certain. Her trail's gone cold.
INT. DR. VAUGHN'S OFFICE - CONTINUOUS
Carter sits in a chair in Dr. Vaughn's office while Dr.
Vaughn sits behind her desk.
CARTER
Cold? Not as cold as your body's going to
be if you don't find her. If she's in
that city then you find her and you find
her now. Now, you have forty-eight hours
before I get angry. I suggest you use
them wisely.
INT. MANAGER'S OFFICE - DAY
Kat sits in chair in a bland office. There is a work
schedule and a reminder of worker's rights posted to the
wall.
KAT
I'm a hard worker and I know that I can
be a great help here.
GUY MATTHEWS, a sad-faced bastard stuck in a dead-end
job, sits behind the desk. He glances down at an
application that sits on his desk.
GUY
Well, Helga. What got you interested in
data research?
KAT
I love collecting and interpreting data.
It's sort of like solving a mystery.
Guy nods, then stretches his hand over the desk. Kat
stands up and shakes Guy's hand.
GUY
Can you start today?
INT. OFFICE SPACE - DAY
Kat sits in a small cubicle. She glances over at a data
spread sheet and types in the data into her computer at a
rapid pace.
She stops typing. She glances over her shoulder.
She opens a new window and begins typing furiously.
Her fingers fly across the keyboard, her eyes never
leaving the screen.
INT. DR. VAUGHN'S OFFICE - DAY
Dr. Vaughn works at her desk when WESLEY, a well built
muscular man, the type of man uniforms were created for,
comes in. Dr. Vaughn looks up.
DR. VAUGHN
What is it, Mr. Wesley?
WESLEY
Our info-tech department has reported
that someone's trying to access our
files.
DR. VAUGHN
Someone on the outside?
WESLEY
Yes, ma'am.
DR. VAUGHN
What files are they trying to access?
WESLEY
Several. Protocol,
DR. VAUGHN
Which personal?
WESLEY
Kat's file.
DR. VAUGHN
Shut the network down and cut our hard
lines. Don't put the anything back
online until security's been at least
doubled.
WESLEY
Yes, ma'am.
Wesley turns and leaves the room.
INT. OFFICE SPACE - DAY
She stops typing. The screen begins shooting out random
code. She stares at it intently for a moment then
resumes typing.
Some of the code begins to form words. Kat stops.
KAT
(to herself)
Project: Prometheus?
Kat looks surprised as the screen goes blank.
A KNOCK on her cubicle makes her turn around. SEAN, an
awkward but endearing young man, stands at the lip of her
cubicle.
SEAN
I heard we got someone new. My name's
Sean.
Sean extends his hand. Kat shakes his hand.
KAT
Helga.
SEAN
Helga. Pretty name.
KAT
Thanks.
SEAN
What are you doing tonight?
KAT
Tonight?
SEAN
Yeah. I had a problem I thought you
might be able to help me with. You see
whenever I go to the movies I always end
up buying way too much Coke and popcorn.
I need someone to come help me eat all of
it.
KAT
Are you asking me out on a date?
SEAN
Yes. Yes I am.
KAT
I really can't. I've got plans.
SEAN
Ah. Well. No pain in asking. I'll see
you around.
Sean turns and leaves.
INT. APARTMENT - NIGHT
Not extremely roomy, but clean. It has large windows and
a nice hardwood flood. It looks like many people's first
apartments.
The LOCK on the door turns and CLICKS, the door opens and
Kat and a REALTOR, a cheery woman who lugs around a large
suitcase, enter the apartment.
REALTOR
Well, this is the apartment.
Kat looks around.
KAT
I'll take it.
INT. OFFICE SPACE - DAY
Kat sits in her cubicle, typing on her computer. Sean
comes to the cubicle and KNOCKS on it. Kat turns to face
Sean.
SEAN
Hey Helga.
KAT
Sean.
SEAN
I was just wondering if you wanted to go
with me to a movie tonight.
KAT
I already told you, I had other plans.
SEAN
I thought you just meant last night. Do
you have plans tonight too?
KAT
What makes you think I need to go catch a
movie?
SEAN
You're new in town, probably don't have
any friends.
KAT
What makes you think I'm new in town?
SEAN
I got a gift.
KAT
Tell me.
SEAN
I'll tell you on the way to the movie.
MARGE, a large woman full of attitude and coffee, passes
by Kat's cubicle. She pauses.
MARGE
Just go out with him.
Marge resumes walking. Sean cups his hand around his
mouth as he shouts across the office.
SEAN
Thanks!
KAT
If I go out with you, do you promise to
tell me how you could tell I'm not from
here?
Sean puts three fingers to his temple in a salute.
SEAN
Scout's honor.
KAT
The scouts only use two fingers.
SEAN
Oh.
Sean puts down one of the fingers.
KAT
You can meet me outside my apartment.
INT. REALTOR'S OFFICE - DAY
A cramped fern-filled office housing two desks and a
large bulletin board with pictures and descriptions of
apartments and houses for rent or sell.
The realtor looks up as the door opens and Brandon walks
in.
REALTOR
Can I help you?
Brandon smiles.
BRANDON
I certainly hope so.
INT. APARTMENT - NIGHT
Kat sits Indian-style in the middle of the empty
apartment, her eyes closed. Her eyes open as she begins
to COUGH VIOLENTLY into her hand. She looks down at her
hand.
She's coughed up blood. She looks at it disconcerted.
There is a sudden KNOCK on the door. Kat peers at it.
She stands and walks to the door.
KAT
Who's there?
SEAN
It's Sean.
Her body relaxes and she opens the door, revealing Sean
on the other side. She closes the door slightly and
leans into the door frame, blocking Sean's view of the
apartment.
SEAN
Hey, Helga.
KAT
You're early.
Sean looks down at his watch.
SEAN
Yeah, I know. I was running an errand a
block away so I thought I'd come by and
see if you were ready to go.
Painfully awkward silence.
SEAN
So, are you ready to go?
KAT
Yeah.
Sean looks over Kat's shoulder at the apartment.
SEAN
You just move in?
Kat glances over her shoulder.
KAT
Yeah.
SEAN
It's alright. You should've seen my
first place. All I had was a futon and a
bag of Cheetos, neither one of them in
good shape.
They lapse into silence once more.
SEAN
Well, I know a great place that I can
take you while we wait for the movie.
KAT
Where is it?
SEAN
It's a secret.
KAT
I don't care much for secrets.
SEAN
Well, this is a good one.
Kat eyes Sean suspiciously.
SEAN
I'm not going to try and take advantage
of you or anything.
KAT
I can take care of myself.
SEAN
I'm sure you can.
KAT
Alright. Let's go.
Kat steps out of the apartment, closing the door behind
her.
SEAN
Don't you want to grab a jacket? It's
pretty cold outside.
KAT
The cold doesn't really bother me.
The two walk down the hall and then down the stairs.
EXT. APARTMENT BUILDING - CONTINUOUS
Kat and Sean emerge and walk across the street to a
heavily dented lime-green Volkswagon.
KAT
This is your car?
SEAN
It gets me around.
Kat walks around to the passenger side. Although she
says nothing, she looks like she's holding back a laugh.
SEAN
You can say it?
KAT
Say what?
SEAN
My car's a piece of shit.
Kat stops walking and lets out a small laugh.
KAT
It is.
Sean gets in the car.
SEAN
Hey. At least it's my piece of shit.
KAT
I don't think you'd have to fight anybody
for it.
Kat gets in the car.
SEAN
Well, this date's off to a great start.
Sean starts the car and heads down the street.
A few feet away Brandon sits on the curb, hidden behind a
car, he watches as the two drive off. Brandon takes the
cellphone out of his pocket and dials a number.
BRANDON
I've located the target. She's just left
the apartment with someone. License
plate "H5229G2."
CARTER (O.S.)
Do not engage until she returns. If at
all possible, make sure she's alone.
BRANDON
And if she's not?
CARTER (O.S.)
Dispose of any witnesses.
EXT. COASTAL PARKING LOT - NIGHT
Kat and Sean sit on the hood of his car and look out at
the Pacific Ocean. Sean looks over at Kat. She's
transfixed by the crashing of the waves.
SEAN
We're gonna have to go if we're gonna
make it to the movie in time.
Kat doesn't react.
SEAN
Helga?
Kat keeps staring.
SEAN
Helga?
Sean puts his hand on Kat's shoulder. She violently
grabs his wrist.
SEAN
Nice reflexes.
Realizing what's she done, she lets go.
SEAN
Where are you?
KAT
What do you mean? I'm right here.
SEAN
No, what are you thinking about?
KAT
My home.
SEAN
Where are you from?
KAT
Far away.
SEAN
Why'd you leave?
KAT
I was being lied to. What they were
telling me to do, I just couldn't do it.
SEAN
I hear you.
Kat looks over at Sean.
KAT
You ran away from home too, didn't you?
Sean looks out at the waves.
SEAN
Yep. I hit sixteen and left. It was
just me and my mom, you know. My dad
died when I was eight. My mom... she
kinda just stopped living, you know? She
never signed up to be a single mother.
So on my birthday I told myself, "that's
it, Sean. You're a man now. Time to
take care of yourself" So I left.
KAT
What happened to your mother?
SEAN
Don't know. Never called or nothing.
But I know she was better off without me.
KAT
I'm sorry.
Sean looks back at Kat.
SEAN
Don't be. It's not like you're not in a
similar situation. How long have you
been gone?
KAT
Two days.
SEAN
The first month is the toughest. It gets
a lot easier. You get a rhythm to your
life. You just gotta keep reminding
yourself that you're better off.
KAT
Yeah.
SEAN
That's how I knew about you, that you
were new to town. I'd seen that same
look in the mirror.
KAT
What look?
SEAN
That scared look.
KAT
I'm not scared.
SEAN
Of course not.
KAT
I'm not.
The two sit in silence. The only sound is the GENTLE
OCEAN BREEZE.
SEAN
I don't know about you, but I'm in the
mood for a movie.
Sean hops off the hood and walks to the driver's side of
the car.
EXT. APARTMENT BUILDING - NIGHT
Sean pulls his wreck of a car up to the curb and parks
it. Kat and Sean get out, both in good spirits. They
cross the street and head for the front door.
KAT
That was a delightful movie.
SEAN
It was pretty good.
KAT
I never thought that the lives of overly
academic college students could be so
funny or that their revenge could be so
gratifying.
SEAN
Well, I guess that's what makes Revenge
of the Nerds a classic. Had you really
never heard of it before?
Kat shakes her head.
KAT
No. I'd never really seen any movie
before. I suppose my upbringing was very
strict in that regard.
SEAN
I'd say so.
They reach the door. Kat pulls keys out of her pocket
and unlocks the door.
Kat opens the door and holds it open. Sean walks
through; Kat follows.
Brandon walks over from the shadows beside the building
and comes to the front stairs. He stops and looks up the
building.
INT. APARTMENT - NIGHT
The LOCK on the door CLICKS open. Kat and Sean come into
the apartment. Sean closes the door behind him and drops
his jacket on the floor beside the door. Kat walks into
the middle of the room and sits down on the floor. Sean
joins her.
SEAN
Do you have anything to drink?
KAT
Yes, I do.
Kat leaves the room and walks into the kitchen.
Sean takes off his sweater and tosses it onto his jacket.
He untucks his shirt and ruffles up his hair. Kat walks
back into the room holding two cups of lukewarm tap water
in McDonalds cups. She sits down next to Sean and hands
him one of the cups. They both take a sip.
KAT
So do you--
Sean leans in, aiming to kiss Kat on the lips. Her fist
slams into Sean's cheek, knocking him back. Kat stands
up and takes a step back while Sean begins rubbing his
jaw.
SEAN
What? Too forward?
KAT
I want you to leave.
Sean stands up. He walks over to his pile of clothes.
He picks up his sweater and begins to put it back on.
SEAN
I'm sorry. I just... I just thought
that since you invited me up that
maybe...
KAT
No.
SEAN
No.
Sean picks his jacket up and slips it back on.
SEAN
Well. I just wanted to say that I had
fun tonight. I'm sorry if I ruined
everything because of what I did.
Sean watches Kat for a reaction but she doesn't betray
any emotion. Sean turns to leave. He grabs the door
handle.
Sean spins around.
SEAN
Just let me say one more thing. I--
The door explodes inwards as Brandon kicks it open,
sending tiny shards of wood flying through the apartment.
Sean falls to the ground protecting his face.
Brandon looks over at Kat.
BRANDON
Hello, Kat. Love the hair.
Sean looks up from the ground, where he cowers.
SEAN
Your name's Kat?
Brandon turns to face Sean.
BRANDON
You shouldn't be here.
Brandon raises a pistol and points it at Sean.
Kat kicks his hand just as Brandon squeezes the trigger.
A BULLET SLAMS into the wood inches above Sean's head.
Sean crawls backwards into the corner.
Kat turns to face Sean.
KAT
Stay there!
Brandon cold cocks Kat. He raises the pistol and FIRES
the GUN.
The BULLET RIPS into Kat's shoulder sending out a small
spray of blood as she falls to the ground.
Brandon steps over to Kat, who clutches her wounded
shoulder. He raises the gun and points it at Kat's head.
BRANDON
Fortunately for you, I've been instructed
to bring you in alive.
KAT
Sucks to be you.
Kat slams one of her feet into Brandon's KNEES with a
SICKENING CRACK. Brandon drops the gun as he collapses
to his other knee.
BRANDON
Argh!
Kat springs to her feet. With her good arm she throws a
punch, hitting Brandon in the face.
Brandon gets to his feet, keeping his weight off his bad
leg. He pulls a knife from a holster on the harness he's
wearing.
BRANDON
Forget the orders. I'll just bring them
your head.
KAT
Bring it.
Kat takes a step closer to Brandon, he swings his knife.
He's so quick the glint of the blade can be seen more
than the knife itself.
Kat tries to sidestep the attack but the blade bites into
her forearm, drawing blood.
Again, Kat tries to attack Brandon. Brandon swishes his
blade and cuts Kat's cheek.
Kat tries to punch Brandon. He blocks the punch, steps
in and jams the knife deep into Kat's stomach.
Kat's eyes widen as she gasps for air. She takes a step
backwards. She looks down at the blade, still stuck in
her, blood oozing out and dripping into a small puddle at
her feet.
Kat wraps her fingers around the hilt of the blade.
Brandon smirks.
The CLICK of a GUN HAMMER being drawn.
Brandon looks over his shoulder at Sean. Still pressed
up against the wall, Sean has picked up the discarded
pistol and now points it at Brandon. The pistol heavy in
his hands, he shakes slightly.
Brandon's smirk turns into a grin. He takes a step
towards Sean.
SEAN
Don't move. I'll shoot.
Brandon keeps taking small steps towards Sean.
BRANDON
Are you sure? Do you really want to do
that? Kill a man? You sure you can live
with that?
SEAN
Stop.
BRANDON
Every night you'll wake up, wondering if
you did the right thing. If maybe there
was some other way.
SEAN
I mean it.
BRANDON
I'm sure you do. But there's a world of
difference between meaning it and being
able to do it.
Sean pulls the trigger. A DEAFENING ROAR comes out as
the gun discharges.
Brandon doesn't even flinch as the bullet whizzes past
him and hits a window behind him.
BRANDON
Plus you're a crap shot.
KAT
At least he's got an excuse.
Brandon turns around. Brandishing the KNIFE, Kat plunges
it deep into Brandon's heart, CRACKING his BREAST PLATE.
Brandon stumbles backwards. He looks down at the knife.
BRANDON
No.
Brandon falls forward onto the ground. Kat straddles his
body and takes his pulse.
SEAN
(flustered)
Who was that guy? What'd he want with
you. Why'd he call you Kat?
Kat, satisfied that Brandon's dead, looks over at Sean.
KAT
No more questions. We've got to...
Kat's eyes begin to droop.
KAT
(weakly)
We've got to...
Her eyes close as she falls off of Brandon and collapses
onto the ground.
SEAN
Helga!
Sean gets up and runs over to Kat. He looks at her.
She's still, her breathing shallow. Her eyes closed.
KAT
Pressure. Put pressure. On the wound.
Sean looks down at her bloody stomach. Sean quickly
takes his jacket off and tears off his sweater. He puts
the sweater against Kat's stomach and puts pressure on
it.
SEAN
Helga. Helga. Stay awake.
Kat opens her eyes. With great effort, she manages to
keep them half opened. She speaks in short bursts
between breaths with very little energy.
KAT
Kat.
SEAN
What?
KAT
My name. Kat.
SEAN
Whoever you are. Stay awake. You might,
uh... You might have a concussion.
KAT
Gotta go.
SEAN
Go? Go where?
KAT
San Francisco.
SEAN
Now I know you have a concussion. You
gotta go to a hospital.
Kat, still greatly injured, seems to be growing slowly
stronger. Her breathing is less ragged.
KAT
Stop. Listen to me. He won't be alone.
Soon others will come. And they'll kill
you. And me. Only way to stay alive.
Is to do what I say.
Sean looks over at Brandon's prone body.
SEAN
Alright.
KAT
Tie your shirt down. With your belt.
Keep pressure on.
Sean unbuckles his belt and slides it off. He wraps it
around Kat and the sweater, then refastens it. Kat tries
to sit up, Sean tries to force her back down.
Kat grits her teeth and shakily gets to her feet. She
begins to collapse but Sean catches her. He slowly puts
her back on the ground.
KAT
Okay. I'll tell you what to do. Go out.
Get needle and thread. A tank of
gasoline. Rubbing alcohol. And a
lighter.
SEAN
I can't leave you like this.
KAT
I'll be fine. Go.
Sean gets up and slowly backs away to the door. He opens
it and runs out.
EXT. APARTMENT BUILDING - CONTINUOUS
Sean runs out the front door and goes to his car. He
throws open the door, starts the car up, hops in and
drives off.
INT. APARTMENT - CONTINUOUS
Kat lies on the floor. Her breathing comes out in ragged
gasps. She closes her eyes. She forces herself to
exhale. She slowly inhales. She continues this forced
controlled breathing.
INT. DR. VAUGHN'S OFFICE - NIGHT
Dr. Vaughn sits hunched over her desk, filling out
paperwork. The door opens so forcefully that Dr. Vaughn
is caught off guard. Carter comes into the room and
plants his hands on Dr. Vaughn's desk and looks her
square in the eyes.
CARTER
Our asset's been compromised.
DR. VAUGHN
What do you mean?
CARTER
Brandon located Kat. In his last
communique, he reported that he was about
to attempt to bring her in.
DR. VAUGHN
Maybe he's lying in wait. Maybe we
should wait to see if he checks in.
CARTER
Every second you wait, the trail grows
colder and she's closer to dying.
DR. VAUGHN
What do you suggest?
CARTER
Allow me to go after her. I trained her.
I know how she thinks. I can bring her
back in. The longer we wait, the further
she can get.
Dr. Vaughn ponders.
DR. VAUGHN
Go.
Carter stands up tall. He tugs his coat, as if preparing
himself for action.
CARTER
Finally.
DR. VAUGHN
You have three days left to bring her in.
After that, it'll be too late to continue
her gene treatment and we'll have lost
two of our most promising agents.
Carter turns and heads out the door.
EXT. APARTMENT BUILDING - CONTINUOUS
Sean pulls the car in front of the building, parking
nowhere near the curb. He hops out of the car carrying a
large grocery bag. He runs through the front door of the
apartment.
INT. APARTMENT - CONTINUOUS
Sean comes into the room. He runs to Kat and drops to
his knees next to her.
SEAN
I'm back. I brought ever thing you asked
for.
Kat's eyes flutter open. She looks at Sean.
KAT
Good. You've got to find the bullet.
Sean turns and crawls around the floor of the apartment,
his eyes scanning the ground.
SEAN
Here it is!
Sean holds the bullet up. He crawls back to Kat holding
the spent bullet.
SEAN
Found it.
KAT
Good. It went through and through. Now,
get the needle and thread.
Sean scoots over to the grocery bag. He leans over and
pulls out the needle and thread from the bottom of the
bag.
KAT
Thread the needle.
He gets the needle out of the case it came in. Sean
picks up the thread. He slips the thread through the eye
of the needle.
KAT
Now use the lighter. Singe the needle,
don't torch the thread.
He fishes a lighter out of his pocket. He CLICKS the
LIGHTER, sending out a small flame. He holds the needle
over it for a moment.
KAT
Get the rubbing alcohol.
Sean gets the large bottle rubbing alcohol out of the
bag.
KAT
Bring it all here.
Kat tries to sit up. Sean comes over and helps hold her
up. She rips the collar of her shirt, exposing a bloody
wound.
KAT
Pour the alcohol on.
Sean picks up the bottle and pours a copious amount on
the wound. Kat grits her teeth and looks away but makes
no sound as the WOUND SIZZLES.
KAT
Hand me the needle.
Sean holds up it up. She takes the needle and thread
from him. She leans over and sticks the needle into her
flesh. Sean, still helping her support her weight, looks
away while Kat begins sewing up her wound.
SEAN
Who was that guy?
KAT
No one who will be missed.
SEAN
So you're real name's Kat?
KAT
Why are you so fixated on that?
SEAN
In a crisis I find it easier to deal with
the minutiae.
KAT
Yeah. My name's Kat.
SEAN
Are you ever going to tell me what's
going on?
KAT
I need you to take off your belt.
Sean glances over as Kat bites off the end of the thread. Her shoulder, while still inflamed and injured, is at least now sewn up.
SEAN
My belt?
KAT
I can't sew up my stomach with it on.
Sean sets her back down on the ground. He unbuckles the belt and slides it off. He takes his blood soaked sweater off her stomach.
KAT
Give me some more alcohol.
Kat pulls up her shirt, revealing the still bleeding knife wound in her stomach. Sean picks up the bottle of alcohol and pours it on the wound. Sean puts the bottle back down on the ground. He turns around as Kat begins to sew up her stomach.
KAT
Cover him in the gasoline. Whatever's
left pour throughout the place.
Sean gets up, walks over to the bag and pulls out a gas can. He walks over to Brandon's body and pours some of the gasoline on his body. Sean begins to take steps away from the body, still pouring out the can.
When the can's empty he tosses it aside and walks over to Kat. Kat pulls her shirt down over her now sewn up stomach wound. She sticks the needle and thread into her pants pocket.
KAT
Now help me out to the car.
SEAN
You sure you're okay?
KAT
I'm fine.
SEAN
What about, I don't know. Internal
bleeding or something.
Kat looks up at Sean.
KAT
Get me to the car.
Sean bends down and grabs a hold of Kat. She throws her arm over his shoulder and pulls herself to her feet.
KAT
Careful. I don't want to tear any of my
stitches.
Then the two of them walk out the door.
EXT. APARTMENT BUILDING - NIGHT
Sean supports Kat as she limps to the car. He rests her against the side of the car as he opens the door. He helps her lie down in the backseat.
He closes the door and runs around the car. He gets in the driver's side.
INT. SEAN'S CAR - CONTINUOUS
Sean closes the door behind him and looks over his shoulder at Kat. While she no longer seems like she's about to die, she is still obviously very weak.
SEAN
Okay, now what?
KAT
You have to go back upstairs. Start a
fire in my apartment. On your way back
down pull the fire alarm.
SEAN
What will that do?
KAT
I'll tell you everything. Later.
SEAN
You're serious about San Francisco,
aren't you?
KAT
Very.
SEAN
I don't know.
KAT
Sean. Where there's one, there could be
others. We have to move.
Sean looks at Kat. He looks out the window at the
apartment building, then back at Kat.
SEAN
Okay. I'll be right back.
Sean gets out of the car.
INT. APARTMENT - CONTINUOUS
Sean walks back into the apartment, keeping his eyes
warily on Brandon's lifeless body. He walks over to the
brown paper sack he brought the supplies in.
He picks it up and lights it on fire. He drops it on
Brandon's body. The flames quickly spread all over the
corpse. Some flames jump onto the floor.
Sean turns and hurries out of the room.
EXT. APARTMENT BUILDING - CONTINUOUS
Sean walks out the front. The FIRE ALARM RINGS as flames
grow and dance in the window of Kat's apartment.
Sean gets in the car and drives off as apartment dwellers
start filing out of the building to stand on the sidewalk
in surprise.
INT. SEAN'S CAR - NIGHT
Sean drives down the interstate, his face illuminated by
passing headlights.
SEAN
So. What's up in San Francisco?
Sean looks up at the rearview mirror at Kat. She rolls
her head away.
SEAN
Don't you think I deserve to know
something?
Again, Sean glances up at the rearview mirror.
SEAN
Fine. Be silent. I can do that too.
Sean drives down the road.
He looks up at the rearview mirror.
SEAN
Come on, tell me something.
Sean sighs. He CLICKS on the RADIO. POP MUSIC fills the
car.
SEAN
(singing)
Nobody loves you like I love you.
You're a good girl
And that's what makes me trust you.
Kat makes a pained face.
KAT
What in God's name is that?
SEAN
It's my main man, J.T. You like?
KAT
It's horrible.
Sean CLICKS the RADIO off and then drives in silence, a
scowl on his face. Kat looks out the window. A sign for
a motel sits on the side of the road.
KAT
Take us to that motel.
SEAN
A motel?
KAT
Yeah.
Sean turns the wheel as he takes a turn-off.
INT. MOTEL ROOM - NIGHT
A small slightly seedy room.
The door opens. Kat and Sean come in. Kat still leans
against Sean but he's not supporting her weight entirely
like he was earlier. He leads her to the bed and helps
her sit down.
He sits in a nearby chair.
SEAN
Okay. Now tell me what's going on. I've
been very patient and done everything you
told me to but now I need some answers.
I thought you said you ran away from
home.
KAT
I did run away. But not from home.
SEAN
From where then?
KAT
I was raised as a part of a experiment to
create a super-soldier. I thought I was
working for the government but it turns
out that I was really working for
terrorists.
SEAN
My God.
KAT
So I broke out.
SEAN
So that guy was another one of these
super-soldiers?
KAT
Yeah. He'd been sent back to retrieve
me.
SEAN
And kill me?
KAT
You're seen as a security risk to them.
Sean sits back in his chair. He runs his hand over his
head.
SEAN
Jesus. That's all I can say. Jesus.
(beat)
And you think they'll send someone else?
KAT
I can't say. No one had ever escaped
before. I don't know what the protocol
is. But it's best to assume so and move
on.
SEAN
Why San Francisco?
KAT
It's the nearest metropolitan area I can
blend into. I can try and find out more
about the organization there. I'll
probably stay for a week then go out
east.
SEAN
What about me?
KAT
Once we get to San Francisco and I'm
assured that we're not being followed
then you can go back.
Sean looks away, slightly embarrassed.
SEAN
About earlier, when I tried to kiss you.
I--
Kat sits up and puts her fingers on Sean's lips. Kat
leans closer. She gently kisses Sean's bottom lip. She
kisses again. Sean closes his eyes and kisses her back.
He runs his hand along her cheek, finally resting it at
the back of her head. They kiss passionately.
She breaks the kiss off and lays down on the bed.
SEAN
Wow.
INT. SEATTLE POLICE STATION - NIGHT
A large police station. Officers and detectives flow
through the building, all with a sense of purpose. A cop
leads a drunk handcuffed man towards a the back of the
station. There is almost a wall of sound of TELEPHONES
RINGING, PEOPLE CHATTERING and HURRIED FOOTSTEPS.
Carter walks into the police department. He walks past
the front desk and goes to a SCRAWNY OFFICER who stands
by the water cooler sipping water from a paper cup.
CARTER
Excuse me, son. I'm Special Agent
Wallace with the FBI.
The officer tenses up. Carter takes his wallet out of
his back pocket, flips it open and then flips it closed
before the scrawny officer can look at it.
CARTER
I'm trying to find two fugitives. They
were last spotted in this area.
The scrawny officer fights a stutter.
SCRAWNY OFFICER
If you give me their physical description
I can put an APB out on them, sir.
CARTER
That's just fine but I actually have the
license plate number of the car they were
last seen driving.
SCRAWNY OFFICER
Well, I can run those plates for you.
Carter smiles deviously.
CARTER
Hell, I'd really appreciate that.
Carter plucks a small scrap of paper out of his back
pocket and hands it to the officer.
SCRAWNY OFFICER
I'll get right on this.
The officer takes it and runs deeper into the station.
INT. MOTEL ROOM - MORNING
Sean lies in the bed asleep. His eyes slowly open and he
rolls over to find himself alone in the bed. He looks
over at the window.
Kat stands beside it, sunlight streaming in through the
blinds to illuminate her face.
SEAN
Did you even go to sleep last night?
Sean sits up in bed.
KAT
I got enough.
SEAN
How do you feel?
KAT
Fine.
Sean stands up and walks over to Kat. He lifts up her
shirt and looks at her wound. Her stomach looks mostly
fine, only a thin white scar reveals that she was ever
injured at all.
SEAN
You're quite amazing.
Kat walks away from Sean, leaving him alone by the
window. He watches her cross the room and sit down on
the bed.
KAT
We should leave now. We need to pick up
some new clothes. How far are we from
San Francisco?
SEAN
Oh, about five, maybe six hours.
KAT
Good.
Sean looks out the window.
KAT
I'm sorry I got you mixed up in all this.
Sean's brow furrows.
SEAN
What the fuck is that guy doing to my
car?
Kat quickly gets to her feet and goes to the window. She
looks through the shades.
EXT. MOTEL - CONTINUOUS
A small half-full parking lot sits out in front of the
motel. A police car is parked near to Sean's banged up
Volkswagon. A police officer in dark sunglasses, COP 3,
is walking along Sean's car, looking inside.
INT. MOTEL ROOM - CONTINUOUS
Kat turns to face Sean.
KAT
Brandon must've gotten your plates.
SEAN
Who's Brandon?
Kat walks over and picks up Sean's jacket and sweater.
She tosses them at him, he catches them. She walks into
the bathroom.
KAT (O.S.)
You didn't leave anything important in
the car, did you?
Sean tries to think. Kat comes back into the room.
KAT
Did you?
SEAN
No. I don't think so.
KAT
Okay. We just have to get a new car.
Come with me. And be quiet.
Kat walks into the bathroom, Sean follows.
SEAN
Was Brandon the name of that guy who
attacked us?
EXT. MOTEL - CONTINUOUS
The officer is escorted by the MOTEL MANAGER, a large
older man more partial to donuts and soap operas than to
daylight and soap, up to Kat's motel room. The manager
fumbles with keys.
MOTEL MANAGER
Yeah, there was two of them. A man and a
woman. They said the just needed the
room for the night. I try not to pry but
I figured they were a couple of lovebirds
sneaking off for a bit of alone time, if
you know what I mean. Now that I think
of it, maybe she was a pro. She
definitely looked like she'd seen some
better days and the guy she was with
wasn't no prize hisself.
They get to the door.
MOTEL MANAGER
Here we are.
The manager sticks a key in the lock and turns it,
unlocking the door. The officer puts his hand up,
motioning to stop.
COP 3
(whispering)
Just leave this part to me.
He draws his firearm.
MOTEL MANAGER
Oh. Right. Well, I'll just be in the
office if you need me.
The manager takes his key out of the lock, turns around
and heads back for his office.
EXT. MOTEL PARKING LOT - CONTINUOUS
Kat and Sean poke their heads around the corner of the
motel.
EXT. MOTEL - CONTINUOUS
They see the manager heading back to the office. The cop
is looking around suspiciously.
EXT. MOTEL PARKING LOT - CONTINUOUS
Kat looks over at Sean.
KAT
The cop's supposed to wait for back-up
but this guy looks like he's gonna kick
in the door right now. If he does, he'll
figure out pretty quickly that we're not
there.
SEAN
So what do we do?
KAT
Run.
SEAN
Run?
Kat runs forward, keeping her body low to the ground.
She runs to a Coke machine and presses her body up
against the wall. She peaks around it. She then runs
again, this time out to the parking lot. Sean follows
her, running much less gracefully.
The two hide behind a sky blue Volvo. Kat pulls the
needle out of her pocket.
KAT
See what the cop's up to.
Kat sticks the needle in the car door lock and begins to
twist it around. Sean peeks around the front fender of
the car.
EXT. MOTEL - CONTINUOUS
The cop turns to face the door. He draws his firearm and
knocks on the door.
COP 3
Police!
Cop 3 throws open the door and rushes inside.
EXT. MOTEL PARKING LOT - CONTINUOUS
Sean turns to face Kat, who's still trying to work the
lock.
SEAN
He's just gone inside.
Kat stops trying to pick the lock and stands up.
KAT
Well, I'd say the time for subtly is
past.
She grabs Sean's bloody sweater and wraps it around her
fist. She punches through the window, SHATTERING the
GLASS and sending small shards flying.
She reaches in the car, pulls up the lock and throws the
door open.
INT. STOLEN CAR - CONTINUOUS
Kat leans underneath the dashboard. She removes a small
piece of the paneling, exposing wires. She grabs two
wires, twists and snaps them.
EXT. MOTEL - CONTINUOUS
Sean, now standing next to the car, watches Kat work. He
looks up. The cop storms out of the motel. Still
brandishing his weapon, he looks around the area. Sean
ducks down.
SEAN
Kat. The cop's figured us out.
INT. STOLEN CAR - CONTINUOUS
Kat begins rubbing the two wires together with great
deliberation.
KAT
Just gotta get a spark.
EXT. MOTEL - CONTINUOUS
Sean stands slightly to peek over the car.
The cop's eyes widen as he sees Sean.
COP 3
Hey!
The cop begins to run towards the car.
SEAN
Kat! We gotta go now!
INT. STOLEN CAR - CONTINUOUS
A spark shoots out between the two wires.
KAT
Get in!
Kat intertwines the two wires and sits up in the driver's
seat. Sean jumps in the passenger seat. Before he can
even close the door, Kat shifts the CAR into drive and
PEELS out of the parking lot.
EXT. MOTEL - CONTINUOUS
The cop runs into the street, trying to get a better look
at the car.
INT. STOLEN CAR - CONTINUOUS
Sean looks frantically over his shoulder at the cop they
left behind. He looks over at Kat who looks calm as she
drives speedily down the road. He slumps down in his
seat.
KAT
Fasten your seat belt.
SEAN
What?
KAT
Fasten your seat belt. It's the law in
California.
Sean reaches up, grabs the belt and buckles it in.
KAT
This is the way to San Francisco, right?
SEAN
Yeah. Yeah. I think so.
Kat shoots him an angry glare.
SEAN
Yeah, it is.
KAT
Okay. There's a good chance that the cop
might've made this car. The make, the
model, maybe even the license plate
number so we're gonna have to switch
cars.
SEAN
Okay.
KAT
Then we're gonna find a small motel in
San Francisco. I'll drop you off and
you'll rent one room. Say that you're
staying there by yourself. There's
probably a bulletin out for two people
traveling together.
SEAN
Okay.
KAT
I'm going to make us some fake documents.
Birth certificates, social security
numbers. That sort of thing.
Sean looks over at Kat in amazement.
SEAN
You can do that?
KAT
I can't create the physical document but
I can hack into government databases and
create a paper trail. After I'm done
doing that, I'll come back to the motel.
We'll stay there for three days.
SEAN
And after that?
KAT
After that I'll figure out what the next
best course of action is.
SEAN
I don't know. This is all... it's just
so... fucked up, you know? I don't think
I can do this.
KAT
Sean, you don't have any other options.
The fact that they're looking for both of
us means that they want you too.
SEAN
I can't keep running forever.
KAT
You won't have to. We just have to make
sure that we've lost them, then you can
go wherever you want.
SEAN
Anywhere I want?
KAT
Anywhere.
There's a lull in the conversation as Sean imagines
himself in his own tropical paradise.
SEAN
Where do you want to go?
KAT
I don't know. Hadn't really thought
about it. All I wanted was to be free.
SEAN
Well now you are. So, what do you want
to do now?
Kat shrugs slightly.
KAT
I always wanted to go to North Carolina.
Sean laughs.
SEAN
Really? You can go anywhere in the world
and you want to go to North Carolina?
KAT
I just love the thought of it. All those
mountains, that fresh air.
SEAN
Trust me, I've been there. It's a
shithole. Little tobacco towns that are
filled with factories and everything's
always dirty; rednecks and hillbillies
everywhere you go.
KAT
Fine. Where do you want to go?
SEAN
The Bahamas. It's a classic for a
reason.
KAT
Well, once this is all over, that's where
you can go.
Sean smiles.
EXT. SAN FRANCISCO STREETS - AFTERNOON
A canary yellow Ford SUV pulls to the curb. The
passenger door opens and Kat, now wearing hip clothes,
gets out. She walks around the car to the driver's side.
The window rolls down revealing Sean behind the wheel, he
too is wearing trendy clothes.
KAT
Okay. I saw a cyber-cafe about two
blocks back. I'm going to go there and
forge the documents then I'm gonna go to
that first motel that we passed when we
came into town.
Sean looks slightly disappointed.
SEAN
The dirty looking one?
KAT
It's the kind of place where people ask
less questions. You go and check out the
room, I'll walk there when I'm done.
SEAN
How will you know which room I'm in?
KAT
Get a copy of the paper and stick just
the corner out under the front door.
SEAN
Gotcha.
KAT
Okay. See you in a couple of hours.
Kat walks down the street, back the way that the car came
from. Sean rolls up the window and turns the car around.
EXT. SAN FRANCISCO MOTEL - NIGHT
It is indeed a dirty looking motel. A giant sign sits in
front of the parking lot held up by two rusty metal
poles. The parking lot hosts a smattering of cars, none
of them parked next to each other. The pool hasn't been
cleaned in ages and is beginning to look more like petri
dish than a pool.
Kat walks along the road towards the motel. She walks
through the parking lot when she suddenly stops. She
covers her mouth and falls to her knees.
She vomits violently onto the pavement. She takes a few
deep breaths and then stands up. She wipes sweat off her
brow and continues walking.
She walks along the rooms. She sees the corner of sports
page sticking out from under one of the doors. She stops
in front it.
She KNOCKS on the DOOR. It swings open slightly. She
puts her hand on the door and pushes it open.
She goes inside.
INT. SAN FRANCISCO MOTEL ROOM - CONTINUOUS
The room is dirty. Real dirty. It looks like a room
that rents by the hour and that the maids don't always
clean between customers.
She comes in, closing the door behind her.
KAT
You weren't supposed to leave the door
unlocked, Sean.
She stops. Her eyes widen.
Carter stands at the opposite end of the hotel room,
holding a knife. He stands next to the bed, which a
shirtless Sean is tied to. Sean's face and exposed chest
are covered in cuts of various sizes. Carter looks at
Kat in shock. He raises an eyebrow.
CARTER
You came back? I wouldn't have wasted my
time interrogating this one if I'd known.
KAT
How'd you find us?
CARTER
Genius over here used his credit card to
pay for the room. I thought you would've
taught him better.
Kat looks over at Sean. He looks tormented, his face is
tear stained.
KAT
You're a monster.
Carter takes a few slow steps closer to Kat.
CARTER
I was just doing my job. Which I
wouldn't have had to do if you hadn't
escaped.
Kat takes small steps backwards towards the door.
KAT
I know what you're trying to do. Get me
to blame myself, doubt myself. Thinking
it'll make it easier for you to bring me
in.
Carter stops walking. He smiles.
CARTER
Kat. You always were my favorite. You
were so bright, so clever. Why don't you
just come back. It'll be like nothing
ever happened. I promise.
KAT
You knew they were lying to us, didn't
you?
CARTER
Kat.
KAT
Didn't you?
CARTER
I know they told you what they felt they
had to. You gotta realize that someone's
been paying the bill this whole time and
that eventually they'd want their money's
worth.
KAT
I killed Brandon.
CARTER
I know.
KAT
I'll kill you too if I have too.
CARTER
Now, neither of us wants that.
KAT
You could just leave. Tell them that you
never found us.
CARTER
I could. But then you'd die. You know
that genetic treatment you were getting?
It wasn't a flu shot. You're in the
middle of some touchy gene therapy. If
you don't come back and finish it out
then in the next few days you'll be dead.
KAT
You're bluffing.
CARTER
Am I? Only way to know is to come back
with me. Come on, what do you say?
Carter takes a step closer to Kat and flashes her a
smile. Kat walks over to Carter. He lowers his arms,
lowering the knife to his side.
She stops in front of him and throws a punch.
Carter drops the knife and catches her fist. He sighs.
CARTER
I just knew you were gonna make me do
this the hard way.
Carter punches Kat in the face. She stumbles backwards.
Kat swings. Carter ducks under the blow and punches Kat
in the stomach.
Kat falls to the ground, clutching her stomach.
Carter brings up his foot and brings it down in an arch
towards Kat's head. She rolls to the side, dodging the
attack.
Kat jumps to her feet. She charges at Carter, swinging.
Carter deflects punch after punch.
CARTER
You're fighting too angry.
Carter grabs one of Kat's wrists and pulls her close, he
slams his knee into her chest. Kat falls backwards.
CARTER
If this is how you've been fighting, I'm
surprised you even stood a chance against
Brandon.
Carter walks over to where he dropped the knife. He
scoops it off the ground.
Kat scrambles to her feet. She grabs the phone off the
night stand and hits Carter upside the head with it.
Carter stumbles back, dropping the knife.
Kat charges forward and picks up the knife. She
brandishes it at Carter, who nurses his bloody nose.
CARTER
Now there's the girl I trained!
Kat comes at Carter, knife first. Carter grabs her hand
at the wrist and twists her arm up into the air, forcing
Kat to drop the knife.
Kat snakes her foot behind Carter's leg and trips him.
Carter falls backwards against the wall.
Kat picks the knife off the ground and pins Carter
against the wall, placing the knife against his throat.
CARTER
Good. Very good.
In a flash of movement, Carter grabs Kat's wrist and
begins to slowly force the knife away from his throat.
Kat moves the blade, nicking Carter's neck.
Carter shoves Kat backwards.
He runs his hand over the superficial cut on his neck.
CARTER
You seem to be playing for keeps. I was
hoping to avoid that. But if it's no
quarter asked...
Carter picks up the ice bucket off the table and holds it
with one hand as he walks towards Kat.
She brings the knife down. Carter holds up the ice
bucket, deflecting the strike. He slams the bucket into
Kat's face.
She stumbles backwards. Carter kicks the knife out of
her hand.
Kat comes at Carter. He sidesteps her attack and kicks
her into the wall. She hits with a THUD. Carter walks
over, grabs her by the hair and SLAMS her head into the
wall.
She stands shakily, her head wobbles. Carter SMACKS her
face into the wall again.
She slouches over. Carter pulls a pair of handcuffs out
of his jacket pocket. He pulls her arm behind her back
and slaps them on Kat's wrist, closing them tightly.
He grabs her by the shirt collar and drags her out of the
room.
EXT. SAN FRANCISCO MOTEL - CONTINUOUS
Carter drags a bloody and limp Kat along the ground
towards a pick-up truck.
Carter passes a MAN, an older mechanic type, changing a
tire on his giant modified pick-up truck. The man stands
up as he stares at Carter and Kat in confusion.
MAN
Excuse me, mister. I don't...
Carter turns his head to face the man.
MAN
I don't...
He sees the rage in Carter's eyes.
MAN
Nevermind.
The man ducks his head and walks out of the parking lot.
Carter watches the man leave.
Kat lifts her head up off the ground.
KAT
(mumbling)
What about Sean?
Carter looks over at her.
CARTER
What did you say?
Carter kneels down closer to Kat.
KAT
(mumbling; slightly clearer)
What about Sean?
CARTER
I figure he's had enough. No one will
believe him anyway.
(beat)
You really care for him, don't you?
Kat mumbles incoherently. Carter leans in closer.
CARTER
What did you--
Kat SMASHES her head into Carter's face. He falls
backwards. Kat leaps to her feet as Carter scrambles to
his.
Kat leaps into the air. Bringing her arms down, she
leaps over the handcuffs, putting her hands in front of
her.
She clasps her hands together and brings them down like a
club on Carter's head.
Kat runs across the parking lot to one of the giant metal
posts holding up the sign for the motel.
She slams her wrist against the pole. She does it again
and again, with increasing force until her WRIST gives a
nauseating CRACK.
KAT
Argh!
Kat slips her broken hand out of the cuff. The cuffs
dangle off the other wrist.
She spins around, looking where she had knocked Carter
down. He's gone.
Her eyes scan the parking lot. There are numerous trucks
and cars to hide behind. A large icemaker. A post
office box. She walks cautiously through the parking
lot.
SCUFFLING FOOTSTEPS come from behind the large modified
pick-up truck. Kat runs to the truck car and presses her
body against the back.
She jumps around the corner. No one's there. Kat
relaxes.
Carter slams into Kat from behind, tackling her to the
ground. Carter gets to his feet. Kat does more slowly.
CARTER
Very good. Very resourceful. But I'm
afraid it's over.
Kat looks at her feet. The man who was replacing his
tire had left the tire iron behind. Carter follows her
gaze and sees it too.
Carter pulls out a large hunting knife from a sheath tied
to his leg.
Kat kicks the tire iron up into the air and catches it in
one fluid motion.
Carter comes at Kat with the knife but she deflects the
attack with the tire iron. She tries to kick Carter but
he steps back.
He comes at her again, she catches his hand at the wrist
and then brings the tire iron down on the top of his
head.
Carter falls to the ground in a heap.
Kat rolls him over onto his back. His face is bloody and
broken, several of his teeth have been knocked out. One
of his eyes has already swollen shut. His remaining eye
looks up at Kat.
KAT
Is it true? Will I really die without the
treatment?
With great effort Carter nods. Carter's breathing
becomes shallow and uneven. Carter slowly lifts his hand
and places it on Kat's cheek.
CARTER
You... always were... my favorite.
His hand falls from Kat's cheek and his breathing stops.
He is dead.
Kat looks at him, unsure of what to think or how to feel.
She runs her hand over his face, shutting his eye for
him. She picks up Carter's knife then rises to her feet.
Almost in a daze, she turns and walks back towards her
motel room.
INT. SAN FRANCISCO MOTEL ROOM - CONTINUOUS
Kat comes in and walks over to the bed where Sean is
tied. Taking out the knife, she cuts the small cords
tying him to the bed. Sean sits up quickly.
SEAN
Kat, I'm so sorry. I didn't know. I
didn't know not to use my credit card. I
didn't even think about it.
Kat, looking shell shocked, sits down on the bed.
KAT
It's alright.
He gets out of bed and walks to the corner of the room
where he picks up his shirt and slips it on.
KAT
I've got to go back.
SEAN
What?
Sean spins around to look at Kat. She doesn't turn to
face him.
KAT
I've got to go back?
SEAN
You can't be serious.
KAT
I've got to. I'll die if I don't.
SEAN
You don't know that. That guy was
probably just saying that to get you to
come with him.
KAT
He wasn't lying.
SEAN
How do you know that?
Kat looks angrily over at Sean.
KAT
(deliberately)
He wasn't lying.
SEAN
Alright. But even if he wasn't, if this
place was so hard to bust out of then
what makes you think it's gonna be any
easier to break into?
KAT
I'm sure it won't be. Which is why I
need your help.
SEAN
My help? You're the super-chick. What
can I do?
Kat smiles.
EXT. WILDERNESS - DAY
The canary yellow Ford SUV drives among the huge
snowdrifts, over a small service road. It navigates
through the twists and turns of the road.
The service road becomes less and less distinguishable
from the snow. Finally the road ends. The car comes to
a complete stop. The car reverses a bit, then charges
forward onto the snow. The car drives over the snow.
A snowmobile comes in from over the horizon. It
approaches the Ford. The Ford slows and stops just as
the snowmobile cuts in front of it.
GUARD 3, a gruff and stocky man with an assault rifle
under his arm, gets off the snowmobile just as Sean gets
out of the driver's side of the car. Sean wears a thick
ski jacket and a pair of goggles rests on his head.
GUARD 3
Sir, this is a restricted area.
SEAN
I heard there were some sweet spots to
snowboard around here.
GUARD 3
I'm gonna have to ask you to get back in
your car and vacate the premises.
SEAN
Come on, man, you don't gotta be like
that. Surely a guy like you knows where
a guy can boogie on his board.
The guard approaches Sean. He slightly raises the rifle.
GUARD 3
I'm not going to ask you again. Get back
in the vehicle and leave.
Sean shrugs and holds his hands up.
SEAN
Whatever, man.
Sean turns around and walks back to the car. He opens
the door and turns around.
SEAN
What'cha protecting, anyway? I ain't ever
heard of there be nothing this way.
GUARD 3
'Fraid I'm not at liberty to discuss
that, sir.
SEAN
Come on. I won't tell anyone.
The guard takes a step towards Sean.
SEAN
Wait. If I guess, will you tell me? I
bet it's a place where you genetically
engineer super soldiers. Am I right?
The guard swings his gun, knocking Sean in the face with
the butt of the gun. The guard points the gun at Sean.
GUARD 3
Lean over the hood of the car! Hands
behind your back.
Sean complies with the instructions.
SEAN
Was I right?
The guard kicks Sean's feet apart and starts frisking
him.
GUARD 3
Turn around.
Sean turns around. The guard pats him down. He doesn't
find anything. The guard motions with his gun.
GUARD 3
Go over there.
Sean goes where the guard pointed. Keeping his gun
trained on Sean, he walks to the driver's side window and
peers inside.
GUARD 3
You alone?
SEAN
Yeah, man. Just looking for some premium
powder.
The guard lowers his gun slightly as he walks along the
car. He looks in the backseat. It's empty.
GUARD 3
Oh yeah? Where's your board?
SEAN
I got it in the trunk. You can open it
if you want.
The guard turns to look at Sean. He points the gun at
him again.
GUARD 3
You open it.
SEAN
Whatever way you wanna play it, G Man.
Sean casually walks over to the trunk and opens it. The
guard leans over, peering inside. Indeed, a snowboard
rests in the back.
GUARD 3
Alright. Everything checks out. As for
you--
A hand shoots out from underneath the car, grabbing the
guard's ankle. The hand gives a quick pull and the guard
falls onto his back.
The guard makes it shakily to his feet. Sean punches
him. The guard goes back down.
Kat cuts the cord tying her to the bottom of the car and
begins to climb out from underneath it.
Kat climbs on top of the guard while Sean nurses an
injured hand. Sean shakes his hand.
SEAN
Son of a bitch that hurt!
Kat lifts the guard's head up off the ground by his shirt
collar, then punches him with her other hand. The
guard's head goes slack. Kat takes a set of keys off the
guard's belt and gets to her feet.
She walks over to Sean.
KAT
You did great. Now turn around and drive
back to where the road ended. Wait for
me there.
SEAN
What if you get caught?
KAT
I won't.
SEAN
But if--
Kat grabs Sean and kisses him passionately.
KAT
Sean, I don't have long. Soon,
security's going to notice that he's not
checking in and will send more people to
investigate. You have to go now.
SEAN
Okay.
Sean runs to the car and gets in. He drives off while
Kat picks up the guard's assault rifle and gets on the
snow mobile. She turns it on.
Blood droplets fall onto the speedometer. Kat looks
surprised. Blood drips out of her nose.
Kat wipes her nose with the back of her hand and then
drives off.
EXT. THE COMPOUND - CONTINUOUS
A giant building surrounded by a large fence covered in
barbed wire. A few scattered guards stand around the
perimeter. The front of the compound has a large gate
with a turret on either side. Woods flank one of the
sides of the compound.
Kat pokes her head out of the forest. She watches as one
of the guards marches. After he passes by where she's
hidden, she silently moves out of the forest and
approaches him.
She brings the butt of her rifle down hard against the
guard's neck.
She drags his unconscious body into the woods. She takes
his keys and his jacket. She takes the clip out of the
rifle and slips it into her pocket. She drops the rifle
next to the guard.
She runs to the fence and tosses the jacket onto the
barbed wire. She scurries up the fence.
She leaps down onto the ground.
She runs to a door and presses herself close to a wall.
She looks around. No one in sight. She takes the keys
and unlocks the door.
INT. HALLWAY - CONTINUOUS
She creeps through the hallway. She peers around the
corner. Two guards stand outside a door marked
"SECURITY".
Kat reaches into her pocket and pulls out the assault
rifle clip. She tosses the clip down the hall. It lands
with a SMALL CLACK on the ground. The guards, their
weapons at alert, turn to look at where the noise came
from.
Kat charges down the hallway. The guards turn to face
the coming footsteps. Kat punches out the first guard as
the second guard jumps with a start. Kat kicks the
second guard in the jaw. He collapses in a pile.
Kat gets the keys and a pistol off one of the guards and
unlocks the door.
INT. SECURITY ROOM - CONTINUOUS
A room filled with security monitors and huge servers. A
man sits in a chair watching all of them. One of them
shows Kat standing in the hallway outside the security
room. He stands up and spins around, brandishing a gun.
He dives to the side as he FIRES the GUN. He ducks
behind some servers. Kat drops to the ground as the
bullets whiz past her. She crawls behind one of the
servers one the opposite side of the room.
The guard FIRES several rounds into the server Kat hides
behind.
She leans around the edge and FIRES off a few rounds of
her PISTOL. She returns to her hiding place. She sits
perfectly still.
The room is deadly quiet.
She peeks around the server. Nothing. She gets to her
feet and slowly walks across the room. She comes to the
server he was hiding behind. She pops around the corner,
gun first.
The guard lays on the floor. He holds his gun up at her,
blood oozes out of his other arm. The gun shakes
slightly.
Kat slowly lowers herself, still keeping her gun trained
on the guard. She takes one hand off of her gun and
slowly reaches out for his pistol.
She grabs it from him. With the weight of the pistol
gone, his arm seems to have lost all purpose. It falls
lifelessly on his torso as he passes out.
Kat stands up and walks to the middle of the room.
Holding a GUN in each hand, she FIRES at all of the
equipment in the room. SPARKS fly as she continues to
SHOOT everything until her GUNS CLICK, showing they have
no bullets left.
Kat drops both of the guns and leaves the room.
INT. HALLWAY - CONTINUOUS
She comes out of the room and grabs the gun off the other
passed out guard. She holds it in her hand, judging its
weight. She ejects the clip and looks in.
INSERT: CLIP
The clip only holds a few bullets.
BACK TO SCENE:
She jams the clip back into the gun. She turns left and
continues down the hall, taking corner after corner. She
is not at all bothered by the labyrinth style of the
halls. She knows exactly where she is going.
INT. DR. VAUGHN'S OFFICE - CONTINUOUS
Dr. Vaughn sits at her desk, looking down at lab results
and making small notes in the margin. On the wall,
security monitors display only static.
Dr. Vaughn glances up from her work and notices the
static on the screens.
DR. VAUGHN
Kat.
She slams down a button on the intercom.
DR. VAUGHN
Mr. Wesley, lock down the facility
immediately.
WESLEY (O.S.)
Yes, ma'am.
INT. HALLWAY - CONTINUOUS
A lone guard stands in front of a door. His radio has a
short blast of static. He picks up the radio and holds
it closer to his ear.
WESLEY (O.S.)
We have a break-in. I repeat: we have a
break-in. The facility has been put on
red alert until further notice.
Kat comes around the corner. The lone guard looks up in
surprise, he raises his hand in protest. Kat spin-kicks
the guard, he topples over.
She walks to the door and kicks it open.
INT. MESS HALL - CONTINUOUS
The mess hall is a large white room with no windows. The
room holds five tables. Each table is a different color
and has four people sitting at it, except the Blue and
Black table which only have three.
The door swings open as Kat kicks it open. Kat rushes
in. Everyone looks at her in astonishment, people begin
to mutter amongst themselves. Jason looks away, ashamed.
Kat grabs a handful of silverware and jams it into the
hinge of the door, baring the door shut.
ALISON
Where were you?
ANDREW
They just told us it was top secret.
KAT
Everyone! I've come to set you all free!
ALISON
Free?
KAT
We're not being trained by the
government. The people who run this
facility are terrorists.
ANDREW
Impossible!
KAT
It's true. They attempted to blind us
with patriotism while they sent us on
missions to further their agenda.
Jason steps forward.
JASON
Why should we believe you?
KAT
Just think. Why would any government
make an investment in creating soldiers
instead of relying on sheer numbers.
Alison's eyes glaze over as she makes calculations in her
head.
ALISON
It does make sense. There would be no
point for the expenditure of billions
making enhanced soldiers unless the
purpose of the soldiers was to bring in
more money.
KAT
See? Now, I'm offering everybody a
chance. A chance to choose the life that
they want to live.
There is silence.
ALISON
I'll come with you.
Alison walks away from the group and comes over to stand
by Kat's side.
KAT
Come on!
A few others come over. Then a few more trickle over. A
third of the room now stands with Kat. She looks at the
rest of the room with concern.
KAT
Don't you understand? You're just a
nuclear bomb on legs to these people.
And the damage you inflict will do
nothing but bring misery and pain to the
people you think you're protecting.
ANDREW
I'm not gonna go AWOL just because you
say so. I'm staying.
KAT
I'm afraid I can't allow that. I can't
allow anyone to stay behind. I can't
leave you in their control.
(beat)
If you're not with us, you're against us.
ANDREW
Fuck you. I'm gonna trust my government
over some crazed psycho bitch.
Kat raises the gun and shoots Andrew in the face.
Everyone else in the mess hall stares in awed silence as
Andrew's lifeless body slumps to the floor.
Several of the people charge forward angrily at Kat. She
squeezes off TWO MORE SHOTS, sending the attackers down.
One last person comes at her. She tries to fire the gun
but the GUN CLICKS. Empty.
She brings her hand back and pistol-whips the attacker.
He falls to the ground.
Again, everyone stands still.
KAT
I don't want to do this. But I--
JASON GROWLS as he charges forward. Kat steps back,
caught off guard by the ferocious attack.
The entire mess hall explodes into an orgy of violence as
everyone engages in combat. Blows are thrown, dodged and
blocked. Most of the combatants are too equal to have
either one have the upper hand for too long.
Jason continues to attack Kat. Not wanting to hurt him,
Kat deflects his attacks as best she can.
KAT
Please Jason. Just listen to me.
Jason's fist connects with Kat's face.
JASON
Shut up. I've heard all I want from you.
Jason snaps his head to the side as hears the DOOR to the
mess hall STRAINING to open. Jason runs to the door. He
removes the silverware, allowing the door to swing open.
Four guards burst into the room, each of them carrying
heavy artillery. They all stop and stare at the gigantic
brawl in front of them.
Jason ducks behind the guards and runs out of the room.
Kat picks a knife up off a table and throws it at one of
the guards, puncturing him in the chest. The other
guards turn to watch their comrade fall to the ground,
dead.
Kat charges forward. One of the guards opens fire on
her.
She falls to the ground, dodging the attack, and uses her
legs to scissor-kick the guard.
She pops up to her feet and brings the heel of her palm
into another guard's jaw.
She kicks the last guard in the stomach. He bends over
as the air's knocked out of him. She brings her elbow
down on the base of his head. He plummets to the ground.
Kat turns to see the battle. Some of the people lay on the ground dead, others are grievously injured. The fight seems to be winding down.
Leon stands over the bodies of two of the people who had joined Kat's side. His shirt has been ripped off him, showing off his numerous cuts, burns and bruises. Kat runs to him.
LEON
What do you think you can do? There's no
punishment you can dish out that I can't
take.
Kat picks up a lunch tray. Leon looks at it with bemusement.
LEON
A lunch tray?
Kat steps forward, swinging the tray. Leon knocks it out of her hands. Kat lets go of the tray and jams her fist into Leon's Adam's apple.
Leon leans over, gasping for air.
Kat trips Leon. She picks the tray back up, walks over to him and brings the tray down quickly and savagely. It lands with a WET THUD.
She drops the tray. She turns back around and runs over the four bodies of the guards and goes into
INT. HALLWAY - CONTINUOUS
Kat runs down the hall, her eyes searching for any sign of Jason.
Kat sees the doors to the gym have been opened. She slows to a halt and slowly walks into
INT. GYMNASIUM - CONTINUOUS
She looks around the gym. The large chest in the corner is open, highlighting a variety of weapons.
A bo staff comes upwards, hitting Kat in the cheek. Kat rolls to the ground. She looks up. Jason stands holding the staff. He's between her and the weapons chest.
Kat runs to one side, Jason takes a step to block her path. Kat quickly shifts and heads the other direction. Kat speeds past Jason since he'd shifted his weight too quickly to the other direction.
Jason turns and swings his staff. Kat ducks and rolls under the attack.
She leaps to her feet and charges towards the weapon chest. She reaches in and grabs the first available weapon.
She turns around, holding a samurai-style katana blade in her hand. She gets into a proper stance.
Jason lunges forward, Kat sidesteps the blow. Kat tries to counterattack by swinging the sword at Jason's head. Jason blocks the attack with his bo staff.
Jason steps backwards. Kat takes a deep breath then explodes fury, swinging her sword in a lighting of attacks. Every place she swings, Jason is there to block it.
On Kat's last attack, the SWORD cuts through the middle of the staff with a TWHACK. Jason now holds the two staff halves.
Jason comes forward, attacking with both halves of the staff. Kat ducks under the first attack and to the side of the second. She brings her sword up, grazing Jason's chest.
Kat looks over her shoulder as Jason drops both parts of the staff. She turns slowly.
Jason touches his chest wound, a thin slice that cut through his shirt and broke the skin. A thin trickle of blood seeps out on his shirt.
Jason runs forward to the weapons chest. Kat, realizing what he's doing, chases after him.
He pulls out a shotgun. He turns to face her as he pumps the barrel. Kat brings the sword down, cutting the shotgun in half.
Jason watches as the gun spills out in his hands.
Kat brings the sword up, ready to strike again. Jason ducks just as the sword plunges into the weapons cabinet where Jason's head was moments ago.
Kat tries to pull the sword out but it is lodged in the wood. Jason gets to his feet and punches Kat in the stomach.
She lets go of the sword and steps back, dodging Jason's next blow.
Kat walks backwards, into the center of the gym. Jason follows her.
The two of them stand, looking at each for a moment.
They both charge at each other. They engage in a hand to hand combat this is fast and furious. They move with an almost inhuman speed. Each one attacking and counter attacking.
Kat grabs Jason's arm and flips him over her, using a Judo throw. He scrambles to his feet just as her knee lands down on the ground with a HARD THUD.
The two of them resume fighting. Jason grabs Kat's arm and tries to slam her into the wall. She sticks up her foot and runs up the wall, twisting out of Jason's grasp.
She lands on the floor behind him. She shoves her shoulder into his back, SLAMMING him into the WALL.
Jason brings his elbow back, hitting Kat in the side of the head.
Jason sidesteps Kat. He turns around. The two face each other. Both are heavily bruised and are starting to show wear.
Jason comes forward and tries to kick Kat. She steps back, grabs his foot and tugs him off the ground. He slams into the ground.
She gets on top of him, wraps her hand around his throat and begins to squeeze.
Jason gasps and spits trying to breath. His brings his hands up quickly, boxing Kat's ears. She falls off him.
Jason slowly gets to his feet. He walks over to Kat as she gets to her feet.
Kat looks over Jason's shoulder. She sighs as her body relaxes. She holds up her hands.
KAT
I give up.
Jason looks at Kat with confusion. He quickly glances over his shoulder towards the door.
No one's there.
Jason turns back around just in time to have his face connect with Kat's punch. He staggers backwards. Kat wraps her arm around Jason's neck.
Holding him tightly in a choke hold, she tenderly rests her head on top of his.
KAT
I'm so sorry.
She twists his NECK with a VIOLENT SNAP. She lets go of him. His limp body falls to the ground.
She steps over his body and walks out of the gym.
INT. HALLWAY - CONTINUOUS
She walks through the hall as if in a daze. She slowly gathers more sense of self and begins walking faster. She heads down the hall with greater purpose.
INT. SICK BAY - DAY
Kat comes in. She looks frantically around the room. She sees a small refrigerator in the back that contains several vials. She runs over to it, quickly gets them out and puts them in a small box sitting nearby.
She picks up the box, turns and leaves the room.
EXT. WILDERNESS - CONTINUOUS
Sean sits in the yellow Ford where the road ends. He looks in the side-view mirror. He sees four people led by Alison come over a hill and approach the car.
Sean gets at the car.
ALISON
Are you working with Kat?
Sean looks over the four people.
SEAN
Yeah. Where is she?
ALISON
I thought she already got out.
SEAN
Stay right here.
Sean runs over the hill where the group came from.
INT. DR. VAUGHN'S OFFICE - CONTINUOUS
Dr. Vaughn sits at her desk. Two guards stand on the inside of her door looking at her. Wesley comes in.
DR. VAUGHN
Status report, Mr. Wesley?
WESLEY
The team sent to the mess hall was
compromised.
DR. VAUGHN
Compromised?
WESLEY
It appears that a fight broke out between
the subjects.
DR. VAUGHN
Any casualties?
WESLEY
Several and it appears the survivors have
all fled the facility.
DR. VAUGHN
Fled?
WESLEY
Yes, ma'am.
DR. VAUGHN
Send all your men out. Make sure that
they are all brought back or I will see
to it that they'll have to use a shoebox
for your coffin.
WESLEY
Yes, ma'am.
Mr. Wesley turns, he motions for the two guards to follow him. All three leave the office.
DR. VAUGHN
(to herself)
I'm surrounded by idiots.
There is the sound of a SCUFFLE in the hall outside Dr. Vaughn's office. Then a GUN SHOT.
The door opens and Kat comes in, carrying the box of vials.
Dr. Vaughn stands up in shock at Kat's arrival.
DR. VAUGHN
Kat?
KAT
Hello, Dr. Vaughn.
Kat raises a pistol and points it at Dr. Vaughn.
KAT
Have a seat.
Dr. Vaughn sits back down at her chair. Her hand slips under the face of her desk where a gun rests in a holster.
KAT
Where's my file?
DR. VAUGHN
Your file?
KAT
Let me ask again.
Kat pulls back the HAMMER of the GUN so it CLICKS into place.
KAT
I want my file. I want to know exactly
where in the process I am. How much I
need.
Dr. Vaughn pushes a couple of buttons on her desk. The monitor behind Kat flashes on. A picture of her comes up. Kat glances at it out of the corner of her eye.
INSERT: FLAT-SCREEN MONITOR
Kat's eyes are drawn to specific sentences: "She's almost done with her therapy," "soon ready for active duty," and "genetic donors: Jack Carter and Veronica Vaughn."
BACK TO SCENE:
Kat's arm relaxes, lowering her gun slightly.
KAT
Genetic donors?
DR. VAUGHN
Yes, Kat. I'm your mother. Technically
speaking, of course. After all, we could
just snatch children off the street. We
had to make them and they had to be the
best. Carter and I donated to make you
and you were the crowning achievement of
the project.
KAT
How could you? How could you do this to
your own child?
DR. VAUGHN
And what did I do that was so wrong?
Doesn't every parent want the best for
their child? To have them be healthy and
strong?
Dr. Vaughn slowly slips the gun out of the holster under the desk.
KAT
You sold us into slavery.
DR. VAUGHN
I did what I had to do to get my research
done. I had to be quiet while those
idiots Edwards and Bavister got acclaim
for their little "test tube baby." I knew
how to create life and to make it better
than God himself had intended.
KAT
You're a monster.
Dr. Vaughn stands up slowly.
DR. VAUGHN
No, Kat. You're the monster.
Dr. Vaughn raises the gun and points it at Kat. Kat quickly raises her own gun and shoots Dr. Vaughn.
Dr. Vaughn stumbles back, hitting the wall behind her. She slowly slides down to the ground.
Dr. Vaughn puts her hand on the bloody wound in her gut. She looks up at Kat. Kat walks over and looks over at Dr. Vaughn with pity.
KAT
Why'd you do it?
DR. VAUGHN
You don't get it. You just don't get it.
You were going to be perfect. All of
you. I made perfection. I made you.
Kat holds up her gun.
KAT
Gut wound's pretty bad. It could take
hours before you bleed to death.
Kat cocks the gun, discharging a bullet. She does it several more times.
KAT
If I were you, I'd think about what I've
done. About the lives you ruined and the
ones you would've had we been used. And
then I'd do the right thing.
Kat tosses the gun next to Dr. Vaughn. She looks down at the weapon at her side.
Kat turns and walks out of the office.
INT. HALLWAY - CONTINUOUS
Kat walks out of the office and into the hallway. She steps over Wesley's body as a GUN FIRES in Dr. Vaughn's office. Kat doesn't look behind her.
EXT. THE COMPOUND - DAY
Sean comes out from a group of trees and sees the compound. He stops for a moment, struck by the structure. He takes a breath, building his confidence, then runs towards it.
Kat comes running out the front door, cradling the box of medicine under her arm. Sean stops. Without stopping, she looks at Sean in confusion.
SEAN
Kat?
KAT
Sean?
She runs past him, Sean follows her with his gaze.
KAT
Run!
He looks back at the front door. Several guards come running out.
SEAN
Shit!
Sean turns and runs after Kat.
EXT. WILDERNESS - CONTINUOUS
The four people lean against the car, looking around them.
Kat and a very winded Sean come over the hill. Kat makes it to the car first.
KAT
Everyone get in the car.
They all pile in as Sean arrives at the car. He leans over and tries to catch his breath.
KAT
Sean!
SEAN
Right. Right.
Sean gets in the driver's side, starts the car and drives off as guards appear over the hill. They shoot at the moving car.
INT. YELLOW FORD - CONTINUOUS
Sean looks over all his passengers. Alison, seated in the back, leans forward.
ALISON
Where are we going?
Sean shoots Kat a glance.
SEAN
I hear North Carolina's nice this time of
year.
KAT
North Carolina.
INT. DARK ROOM - NIGHT
Snyder, Johansen and Stewart sit at a large table that hosts several other men, all dressed in nice suits. MILLER sits at the head of the table.
SNYDER
Project: Prometheus failed.
MILLER
I can see that.
SNYDER
While we did lose all of the operatives,
we do still have Dr. Vaughn's research
notes as well as some of the choice
genetic stock.
Miller nods.
MILLER
While the lost investment is very
regrettable, it is true that not all was
lost. Now gentlemen, on to Project:
Helix.
INT. NORTH CAROLINA LANDSCAPE - DUSK
The car's parked at a spot overlooking the Appalachian mountains and numerous forests. The sun nestles between mountain tops, spreading a warm red glow on everything.
Sean, sporting a few days worth of stubble, has his arm wrapped around Kat who looks at the landscape with pure joy.
SEAN
Is it everything you thought it would be?
KAT
It's beautiful.
Sean smiles and looks over at Kat.
SEAN
It sure is.
He leans in and kisses her passionately.
ALISON
How much longer do you think you're going
to be?
Sean looks over his shoulder at the yellow Ford. The four people lean against it, all watching Kat and Sean. Embarrassed, Sean takes his arm off of Kat and inches away.
SEAN
Sorry.
Kat grabs Sean by the shirt collar.
KAT
Hey. I earned this.
She pulls Sean close and kisses him.
FADE OUT.
Another quick piece on Destructoid from yours truly, examining the way in which gameplay and narrative elements work together to reinforce a theme. 
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Britt Reid may put forth the facade of a respectable newspaper publisher during the day, but when night comes he takes to the street as the masked vigilante the Green Hornet alongside his partner Kato. The two drive around in their technologically advanced car, the Black Beauty.
