EXT. AIRSPACE ABOVE THE CASPIAN SEA - NIGHT
An iridescent, disk-shaped object streaks across the night
sky. Prominent among the symbols covering its surface: two
parallel bars inside a circle.
Plumes of bright purple gas stream out of the disk and hang
suspended in its wake.
EXT. AIRSPACE - NIGHT
The disk’s flight path is wobbly and erratic. It vanishes
behind a towering mountain peak.
A blinding flash of light. A shattering EXPLOSION. The
mountain peak in silhouette.
DISSOLVE TO:
EXT. TIEN SHAN MOUNTAIN RANGE - DAY
The disk lies in smoking ruins, in a narrow valley bordered
by snow-capped mountains. The wreckage dwarfs several nearby
military transport helicopters, each bearing a distinctive
red star.
SUBTITLE: ISSYK KUL PROVINCE, KYRGYZSTAN - DECEMBER 1991
EXT. CRASH SITE - DAY
Dozens of Soviet troops, clad in protective gear, are
deployed around the disk.
A low-pitched, oscillating DRONE emanates from the wreckage.
INT. DISK PASSAGEWAY - DAY
Two armed soldiers in protective gear move cautiously along a
narrow passageway drenched in faint purple light.. Faint
purple light radiates from the floor.
Inside the disk, the oscillating DRONE is deafening.
INT. DISK FORWARD AREA - DAY
The soldiers enter a circular open space drenched in purple
light. Overhead, two unmistakable images alternate, on
infinite repeat:
Solar System -- Earth -- Solar System -- Earth -- Solar
System -- Earth --
SOLDIER ONE, a massive specimen, surveys the scene:
Four opaque, coffin-shaped pods, each one meter wide and two
meters long, positioned on the floor at ninety-degree angles
to one another. Three pods are clearly damaged.
When Soldier One shines a spotlight on Pod Four, its opaque
surface erupts in strobing flashes of red, green, and blue.
The DRONE abruptly stops. The soldiers glance at each other.
SOLDIER ONE
(into radio, in Russian,
subtitled)
Now in the main forward area. We’ve
found-
Suddenly, above Pod Four, the 3-D image of a double helix DNA
molecule appears, rotating on a central axis.
The pod begins to open.
EXT. CRASH SITE - DAY
A stern-looking Soviet GENERAL oversees his troops at work.A
Soviet COLONEL approaches.
GENERAL
(in Russian, subtitled)
Life forms?
COLONEL
(in Russian, subtitled)
Yes, Comrade General.
GENERAL
(in Russian, subtitled)
Are there survivors?
COLONEL
(in Russian, subtitled)
One.
(pause)
(MORE)
COLONEL (CONT'D)
But we lost the brave men who
entered the vessel.
The General nods. Unfazed. Unconcerned.
GENERAL
(in Russian, subtitled)
A great day for the Motherland.
The Colonel waits a moment before responding.
COLONEL
(in Russian, subtitled)
Yes, Comrade General.
FADE OUT.
FADE IN:
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
2 -
Camaraderie and Conflict at Bagram
EXT. US MILITARY BASE - DAY
A massive US Air Force cargo jet takes off from a sprawling
air base, engines ROARING. It heads toward an imposing
mountain range.
SUBTITLE: BAGRAM AIRFIELD, AFGHANISTAN - JULY 2016
EXT. US AIR FORCE PARARESCUE OUTBUILDING - DAY
A small, unmarked structure near a large hangar.
INT. US AIR FORCE PARARESCUE OUTBUILDING - DAY
A cramped, windowless room. Three soldiers - fit, sunburned,
battle-tested - in desert fatigue pants, tan-colored boots,
pale green t-shirts.
On a bulletin board: A large US Air Force Pararescue uniform
patch. Notices. Schedules. Administrative BS.
One soldier tinkers with his gear.
The other two play cards at a small table: RIORDAN - early
30s, lean, fit - and MOJO - late 20s, short and stocky - who
wears a faded green bandanna on his head.
RIORDAN
Gin. Again.
Riordan lays his cards down, revealing a tattoo on his inside
right forearm: THAT OTHERS MAY LIVE beneath a deployed
parachute.
MOJO
(tossing cards on the
table)
I give up.
RIORDAN
The goal in this game is to win.
You know that, right?
Mojo pulls out a can of chewing tobacco. Stuffs a pinch into
his lower lip.
MOJO
Maddie turns five today.
(pause)
That’s two birthdays in a row I’ve
missed.
He throws the can at the wall. Chew flies everywhere.
MOJO (CONT'D)
Your sister wants to kill me.
RIORDAN
Yeah? So does everyone within a
hundred klicks of this base.
Mojo tries not to smile, but can’t help it.
MOJO
Bite me.
A fresh-faced LIEUTENANT, mid-20s, enters the room.
LIEUTENANT
(fake-cheerful)
Guess what time it is?
Loud GROANS and muttered CURSES fill the room.
Genres:
["Sci-Fi","Military"]
Ratings
Scene
3 -
From Banter to Battle
INT. BAGRAM AIRFIELD HANGAR - DAY
The Lieutenant leads Riordan's unit - six soldiers in all -
to a table where HENDERSON, early 40s, and a medical
technician, BIVENS, 30, are waiting. Both are dressed in
civilian clothes. Bivens wears a black cowboy hat.
Riordan is first in line. He’s nervous, and Henderson knows
it.
HENDERSON
You know the drill, Riordan.
RIORDAN
Yeah, Hendo. I know the drill. I
just don’t like the drill.
HENDERSON
I don’t get it. You’ve spent most
of the last decade in combat and
you’re scared of needles?
(to Bivens)
What’s his number?
Bivens consults his tablet.
BIVENS
This is dose number twenty.
(to Riordan)
Making you the first and only
soldier to have received the full
series of injections.
RIORDAN
Yay. Do I get a ribbon?
HENDERSON
(to Riordan)
Look on the bright side - getting
shot up with inoculant is the least
dangerous thing that’s gonna happen
to you today.
Riordan sits down.
RIORDAN
Your bedside manner needs work.
Bivens opens a large medical bag.
HENDERSON
Next time, I’ll bring lollipops.
Henderson nods to Bivens, who produces a syringe and needle.
A huge needle.
RIORDAN
(stares at the needle)
Come on, Bivens. That’s a spear,
not a needle.
BIVENS
Just avert your-
RIORDAN
(cuts in)
I know, I know. Avert my gaze.
Riordan pulls up a shirt sleeve. Averts his gaze.
Bivens plunges the needle into Riordan’s arm. Riordan HISSES.
RIORDAN (CONT'D)
(makes a face)
Motherf-
VOICE ON LOUDSPEAKER (V.O.)
(drowns Riordan out)
Scramble, scramble, scramble. Five
US Mil, Cat Alpha. Repeat: Five US
Mil, Cat Alpha.
Riordan pulls the needle out of his arm and stands.
RIORDAN
(loudly, to his unit)
You heard the man. Move it!
EXT. PARWAN PROVINCE, AFGHANISTAN - DAY
A military helicopter hauls ass, up and away from base. The
rotor blades beat against the air - WHAKA-WHAKA-WHAKA.
INT. HELICOPTER BAY - DAY
Aboard the helicopter. Now we see through a soldier’s eyes.
A .50 caliber machine gun barrel hangs out the bay door,
manned by a door gunner. The land below: tan, desolate,
stark. Strangely beautiful.
The bay is jam-packed - soldiers, medical gear, supplies.
INT. HELICOPTER COCKPIT - DAY
The CO-PILOT points at something.
CO-PILOT (V.O.)
(on headset, to pilot)
There! Your ten o’clock!
From the cockpit, visible columns of red smoke spiral into
the sky, partly obscuring a small bridge over a blue ribbon
of water.
EXT. HELICOPTER - DAY
The helicopter banks sharply left, levels, accelerates.
INT. HELICOPTER BAY - DAY
Inside the bay, it’s assholes and elbows as soldiers secure
gear and prepare to disembark.
EXT. LANDING ZONE (LZ) NEAR SAYED BRIDGE - DAY
The helicopter hovers above the LZ. Engine SOUNDS intermingle
with the insistent RAT-A-TAT of machine gun fire from the
door gunner.
INT. HELICOPTER BAY - DAY
One by one, soldiers stand on the landing skids and fast-rope
to the ground.
Genres:
["Action","Military","Thriller"]
Ratings
Scene
4 -
Operation Under Fire
INT. LOS ANGELES AIR FORCE BASE COMMAND CENTER - NIGHT
A drone’s-eye view of the operation unfolds on a massive
screen. Uniformed and civilian personnel watch, transfixed.
Lieutenant Colonel ENDICOTT, mid-40s, watches from the back
of the room. He’s lean. Hungry-looking. In charge. His flight
suit bears a distinctive sleeve patch with the silhouette
image of a Roman Centurion.
A young enlisted AIDE stands next to him.
ENDICOTT
(eyes fixed on the screen)
Do a comms check.
AIDE
Already done, sir. We’re five by
five.
ENDICOTT
Do you have a hearing problem, son?
AIDE
No, sir.
ENDICOTT
Good. Then do a fucking comms
check.
INT. HELICOPTER BAY - DAY
The .50 cal SPITS rounds and empty cartridges.
Our turn. We grasp the rope and look down at the LZ, forty
feet below. The helicopter rolls and pitches like a bucking
bronco.
EXT. LANDING ZONE NEAR SAYED BRIDGE - DAY
The ground races toward us, partly obscured by swirling dust
and billowing clouds of red smoke.
We hit the ground with an OOMPH and run toward a smoldering
armored personnel carrier. Rounds ZING past our head.
In front of us, Mojo twitches like a marionette and slumps to
the ground. We change course and sprint toward him.
INT. LOS ANGELES AIR FORCE BASE COMMAND CENTER - NIGHT
Endicott stares at drone footage displayed on the forward
screen.
ENDICOTT
Deploy the weapon.
The aide gives a thumbs-up to an officer in the front of the
room. The officer nods.
EXT. LANDING ZONE NEAR SAYED BRIDGE - DAY
We’re kneeling next to Mojo. A brilliant green light erupts,
accompanied by an ear-splitting WHINE.
The world begins to spin. Everything goes dark.
FADE OUT.
FADE IN
Genres:
["Action","Military","Sci-Fi"]
Ratings
Scene
5 -
The Green Light Incident
EXT. KAPUSTIN YAR LAUNCH FACILITY - DAY
A sprawling military base/spacecraft launch complex in the
Russian steppes. This is the middle of nowhere.
SUBTITLE: KAPUSTIN YAR COSMODROME, RUSSIA - JULY 2016
EXT. KAPUSTIN YAR HOLDING CELL - DAY
An imposing cell door at the end of a long, harshly-lit
corridor.
INT. KAPUSTIN YAR HOLDING CELL - DAY
An austere cell, illuminated by faint purple light.
A giant monitor occupies most of one cell wall. Multiple
images appear and are replaced in rapid-fire succession:
Mathematical equations. Architectural blueprints. Detailed
maps. Satellite photos. Video footage.
WOLF, 50ish, unremarkable-looking, dressed in drab prison
coveralls, sits in a chair, staring at the monitor.
Periodically, he clenches and unclenches his right hand.
Discordant SOUNDS - recorded MUSIC tracks, people TALKING in
various languages, bird SONGS - bounce off the cell walls.
Wolf sits forward in his chair and gestures.. The chaos of
noise is reduced to a single audible sound.
MALE VOICE (O.S.)
(shouting over helicopter
engine noise)
-LZ. Repeat - a series of possible
explosions or weapon malfunctions
near the LZ. Never seen anything
like it.
Wolf gestures again. Drone footage of a desolate, tan-colored
place fills the entire monitor. A bridge spans a ribbon of
blue, and the ground is dotted with soldiers. Sayed Bridge.
The footage is abruptly obscured by a blinding flash of green
light.
The hint of a smile appears on Wolf’s face.
EXT. BAGRAM AIRFIELD - DAY
A small, windowless building with no identifying marks, in a
remote sector of the base.
INT. SECURE VIEWING ROOM, BAGRAM AIR FIELD - DAY
A darkened room. Large monitors display drone and helicopter
footage of Sayed Bridge. Non-stop RADIO TRAFFIC.
Henderson and Bivens watch the monitors in disbelief.
HENDERSON
(under his breath)
Oh, shit.
A land-line phone RINGS. Bivens picks up. Listens.
BIVENS
(into phone)
Yes, sir. Stand by one.
Bivens puts his hand over the receiver.
BIVENS (CONT'D)
(to Henderson)
It’s Endicott.
Henderson extends a hand, still staring at the monitor.
Genres:
["Sci-Fi","Military","Thriller"]
Ratings
Scene
6 -
Escape and Revelation at Kapustin Yar
INT. KAPUSTIN YAR SECURITY POST - DAY
A bored uniformed SECURITY GUARD sits at a desk in front of a
computer monitor, scrolling through video feeds. Pulls up the
holding cell feed. Does a double take.
The door to the cell is open. The cell is empty.
SECURITY GUARD
(speaking into microphone -
in Russian, subtitled)
Prisoner, show yourself.
No change.
SECURITY GUARD (CONT'D)
(speaking into microphone -
in Russian, subtitled)
Wolf! Show yourself!
No change.
He slams his fist against a large red alarm button. A klaxon
BLARES.
DISSOLVE TO:
MONTAGE - RIORDAN’S MEMORY FRAGMENTS
A series of images. Kinetic and indistinct. Jagged shards of
memory:
Mojo, face-down and motionless in a barren field. Green
bandanna tail twitching in rotor wash.
Sunlight, filtered through whirring helicopter blades.
Stretchers. IVs. Medics. Bright lights. A pretty nurse.
The inside of a cargo plane, configured like a hospital ward.
FADE OUT.
FADE IN
INT. KAPUSTIN YAR CONFERENCE ROOM - NIGHT
A cramped, uninviting room. VOLKOV, 50s, tall and rail-thin,
and LARISA - mid-30s, blonde, fit, and striking-looking - sit
on the wrong side of the table.
On the other side: the Troika, a panel of two grim-faced men
on either side of a grim-faced woman, the TROIKA LEADER.
TROIKA LEADER
(in Russian; subtitled)
A failure twenty-five years in the
making. Congratulations, Dr.
Volkov.
VOLKOV
(in Russian; subtitled)
A failure? Operation Stiletto took
fragments of extraterrestrial
source material and changed the
world.
(glances at Larisa)
I can’t speak to security
deficiencies.
TROIKA LEADER
(in Russian; subtitled -
to Larisa)
To that point, how and why did Wolf
escape?
LARISA
(in Russian; subtitled -
to the Troika)
You might want to hold onto your
chairs.
Larisa produces a small metallic cube and waves a hand over
it.
Instantly, the room is plunged into darkness and a blazing
star field appears overhead. Below, a blue-green planet.
Larisa gestures again, and the planet - Earth - hurtles
toward them at dizzying speed. GASPS from the Troika members.
The planet stops on a dime. Now the view is from several
hundred feet above a desolate, tan-colored place. A narrow
span crosses a slender ribbon of water.
LARISA (CONT'D)
(in Russian; subtitled)
Surveillance satellites identified
an anomalous energy signature
within the last twelve hours. In
Afghanistan, at a place called
Sayed Bridge.
(pause)
A Tech energy signature.
TROIKA LEADER
(in Russian; subtitled)
Tech - as in Operation Stiletto
technology?
LARISA
(in Russian; subtitled)
Correct.
TROIKA LEADER
(in Russian; subtitled)
But no such technology is being
used in Afghanistan.
LARISA
(in Russian; subtitled)
Also correct.
(pause)
Not by us, anyway.
The Troika members exchange glances.
Larisa lifts a hand. The image of Sayed Bridge is replaced by
that of a sprawling military base.
LARISA (CONT'D)
(in Russian; subtitled)
We believe the US military is
running its own version of
Operation Stiletto, a program
called Infinite Shield, from this
base in Los Angeles.
TROIKA LEADER
(in Russian; subtitled)
How can that be?
VOLKOV
(in Russian; subtitled)
We can’t assume the Tien Shan crash
was a singular event. It’s likely
the Americans recovered another
vessel, from another site. Where,
or when, we don’t know.
Larisa waves her hand over the cube. The image disappears,
and the lights come back on.
TROIKA LEADER
(in Russian; subtitled)
Is Wolf aware of this?
LARISA
(in Russian; subtitled)
We checked the data feed into
Wolf’s cell. It isolated audio and
video associated with the Sayed
Bridge incident shortly before it
escaped. That’s not a coincidence.
TROIKA LEADER
(in Russian; subtitled -
to Volkov)
What does it want?
VOLKOV
(in Russian; subtitled)
Wolf was designed to wreak havoc
inside the US in time of war. What
its intentions are now...I can’t
say.
TROIKA LEADER
(in Russian; subtitled)
Please tell us you have a plan.
LARISA
(in Russian; subtitled)
I’ve been in charge of Wolf’s
security detail for the last five
years. I failed in that
responsibility. Now I’m going to
track it down and stop it.
TROIKA LEADER
(in Russian; subtitled)
Will it know you’re coming?
LARISA
(in Russian; subtitled)
I hope not.
Genres:
["Sci-Fi","Thriller","Mystery"]
Ratings
Scene
7 -
Night on Skid Row
EXT. SKID ROW STREET - NIGHT
SUBTITLE: LOS ANGELES, CALIFORNIA - AUGUST 2016
A sketchy part of town. An LAPD car with two officers rolls
slowly down the block.
INT. SKID ROW FLOPHOUSE ROOM - NIGHT
Riordan starts awake in a tangle of bedsheets. He fumbles for
a half-empty bottle of whiskey on the nightstand. Unscrews
the cap. Takes a long pull.
EXT. SKID ROW STREET - NIGHT
Riordan walks down a sidewalk, bleary-eyed and aimless.
EXT. SKID ROW ALLEY - NIGHT
In a trash-strewn alley, a STREET GUY, late 20s, big and
scary-looking, hassles a teenage girl RUNAWAY.
Distant freeway traffic HUMS, interrupted by the occasional
SIREN or SHOUT.
STREET GUY
You need a friend out here.
RUNAWAY
I’m fine.
Street Guy gives her the up-down look.
STREET GUY
Yes, you are.
Riordan walks past the alley. Turns back. Surveys the scene.
RIORDAN
Is there a problem?
STREET GUY
There will be if you don’t move the
fuck on.
RIORDAN
(to Runaway)
Are you okay?
She shakes her head no, just barely. Street Guy steps between
her and Riordan.
STREET GUY
How about I bounce your head off
the pavement?
RIORDAN
I’ll pass.
Street Guy grabs Riordan’s arm.
STREET GUY
This is gonna be---
In one fluid motion: Riordan breaks Street Guy’s grip, grabs
his wrist, and dumps him on his ass. Hard.
Riordan lets go, turns to the Runaway. His shirt sleeve, now
torn, hangs loose.
RIORDAN
Take off.
She nods, runs out of the alley.
Street Guy scrambles to his feet. SNARLS.
Riordan holds up a hand.
RIORDAN (CONT'D)
You don’t want to do this.
Street Guy moves forward and launches a WHISTLING haymaker.
Riordan ducks the punch. Delivers a side-kick straight to the
kneecap. A sickening CRUNCH.
Street Guy is off-balance, but still game. He squares up.
Riordan steps in, drives an open palm up and into Street
Guy’s jaw. A vicious uppercut. Solid contact.
Lights out. Street Guy crumples to the ground, twitching.
A siren WHOOPS. A police cruiser floods the alley with
strobing red/blue lights. A glaring white spotlight hits
Riordan in the face.
POLICE LOUDSPEAKER (V.O.)
Lemme see some hands!
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
8 -
Night on Skid Row: A Moment of Understanding
EXT. SKID ROW STREET - NIGHT
Street Guy sits on the sidewalk, in handcuffs. A bloody mess.
The older of the two LAPD officers talks to him.
Nearby, the other officer, ORTEGA, early 30s, looks at
Riordan’s driver’s license. Riordan stands at the rear of the
patrol car, facing the trunk, feet spread apart, wrists flex-
cuffed behind his back.
ORTEGA
Let’s try this again - what are you
doing here?
RIORDAN
Like I said - I couldn’t sleep.
ORTEGA
You couldn’t find a safer place to
not sleep? Come on, buddy.
Ortega shines his flashlight on Riordan’s forearm. Checks out
the parachute tattoo.
ORTEGA (CONT'D)
You’re a parajumper?
RIORDAN
Used to be.
Ortega nods, tilts his head in Street Guy’s direction.
ORTEGA
That explains what happened to him.
(pause)
Any combat deployments?
RIORDAN
A few. You?
Ortega’s shoulder radio SQUAWKS. He moves off a step, answers
up, listens to unintelligible RADIO CHATTER.
ORTEGA
(into radio)
One Adam Twenty Four. Copy.
(to Riordan)
They found the girl - she
corroborated your story.
(MORE)
ORTEGA (CONT'D)
Plus, you’re negative for wants and
warrants. This must be your lucky
day.
Ortega puts Riordan’s license on the trunk lid and cuts the
flex-cuffs off. Hands the license to him.
ORTEGA (CONT'D)
Third Battalion, Third Marines, Al
Anbar Province. Back in oh seven.
RIORDAN
You got some stories.
ORTEGA
I’m sure you got a few yourself.
(pause)
It’s none of my business, but what
the hell are you doing down here?
RIORDAN
Just trying to keep a low profile.
Ortega looks around. Moves closer.
ORTEGA
(quietly)
I gotta write this up, ‘cuz
fucknuts over there is a parole
violator. Which means your name’s
going into the system.
Riordan shrugs.
RIORDAN
I’ll figure it out.
ORTEGA
Yeah. I get that feeling about you.
Genres:
["Drama","Action","Crime"]
Ratings
Scene
9 -
Echoes of Grief and Paranoia
EXT. LOS ANGELES NATIONAL CEMETERY - DAY
A framed photograph, propped against a white headstone. It's
Mojo, lying on a beach. Young. Sunburned. Immortal.
ERICA, late 20s, and MADDIE, five years old, stand in front
of the photograph.
The cemetery is a vast expanse of identical white headstones
in a sea of emerald-green grass.
Erica kneels down, places a rose in front of the headstone.
Maddie follows suit.
Further down the row, an elderly woman kneels next to another
headstone. Her muffled SOBS are audible to Erica and Maddie.
Maddie reaches for Erica. They embrace.
ERICA
Oh, Maddie...
A teardrop rolls down Erica's cheek, falls, lands on a rose
petal. The petal quivers, glistening in sunlight.
EXT. SKID ROW PARKING GARAGE - DAY
A battered Jeep exits the garage.
INT. JEEP - DAY
Riordan looks rough.
He scans the street, checks his mirrors. Hyper-vigilant.
He can’t turn it off.
EXT. DOWNTOWN LOS ANGELES STREET - DAY
A beat-up Chevy sedan pulls into traffic, several cars behind
the Jeep.
EXT. DRIVE-THROUGH CAR WASH, DOWNTOWN LA - DAY
The Jeep pulls up to the car wash tunnel entrance. A CAR WASH
GIRL, late teens, approaches.
CAR WASH GIRL
(flirty)
Let me guess - deluxe wash and wax?
RIORDAN
(hands her a bill)
You read my mind. Keep the change.
CAR WASH GIRL
Have a blessed day.
She moves forward, guides him onto the conveyor track.
EXT. CAR WASH ENTRANCE - DAY
Car Wash Girl at the Jeep’s driver-side window.
CAR WASH GIRL
Car in neutral, foot off the break,
windows up.
The Jeep moves forward, herky-jerky, on the conveyor.
INT. CAR WASH - DAY
In the car wash tunnel. Riordan bails out, gets doused by
soapy liquid, makes his way back to the entrance.
EXT. CAR WASH ENTRANCE - DAY
Car Wash Girl stares. This is a first. Riordan scans the
area, searching. He’s soaked.
CAR WASH GIRL
Sir, you can’t leave your ve-
RIORDAN
(cuts in)
Claustrophobia. I’ll just wait at
the other end.
He takes off at a run.
Cars are lining up. Car Wash Girl shrugs, waves the next car
forward.
Genres:
["Drama","Action"]
Ratings
Scene
10 -
Urgent Departure
EXT. APARTMENT BUILDING NEAR KAPUSTIN YAR - NIGHT
A featureless building in the middle of an ill-lit, empty
block.
INT. APARTMENT BEDROOM - NIGHT
A cell phone on a night stand lights up. RINGS.
Larisa gropes for the phone.
LARISA
(on the phone - in
Russian; subtitled)
Yes?
(pauses)
On my way.
She breaks the connection, sits up in bed, turns on a light.
Shakes the GUY in bed next to her.
LARISA (CONT'D)
(in Russian; subtitled)
Wake up.
The guy sits up in bed. Mid-20s, muscular and covered in
tattoos.
GUY
(half asleep - in Russian;
subtitled)
What’s going on?
LARISA
(in Russian; subtitled)
You need to leave.
The guy shakes his head. Stands up and begins to get dressed.
Larisa watches him.
GUY
(in Russian; subtitled)
Did you ever read The Master and
Margarita?
LARISA
(in Russian; subtitled)
A long time ago, in school. Why?
GUY
(recites from memory - in
Russian; subtitled)
‘Once upon a time, there was a
lady. She had no children, and no
happiness, either. And at first she
cried for a long time, then she
became wicked.’
Larisa gets out of bed.
LARISA
(in Russian; subtitled)
Fuck off.
Genres:
["Thriller","Drama"]
Ratings
Scene
11 -
Confrontation on the Side Street
EXT. SIDE STREET NEAR CAR WASH - DAY
Riordan slows to a trot. Spots something ahead.
It’s the beat-up Chevy sedan, parked near the exit.
INT. CHEVY SEDAN - DAY
DEACON, late 50s, ex-cop moustache, slouches in his seat,
watches his rear-view mirror. He’s done this a million times.
His car is littered with soda cans, candy bar wrappers,
newspapers. He yawns just as his door flies open.
EXT. CHEVY SEDAN - DAY
Riordan pulls Deacon out of the car. Dumps him face-down onto
the pavement. Drives a knee into his back.
RIORDAN
Why are you following me?
Deacon flails. No use.
DEACON
(soothing tone)
Take it easy, pal.
(pause)
I’m a private investigator.
RIORDAN
A PI? You got the wrong guy.
DEACON
Not if your name is Thomas Riordan.
(wheezes)
Which it is.
(coughs)
Take it easy, will ya? I’m too old
for this shit.
Riordan yanks Deacon to his feet, shoves him against the
Chevy. Take a wallet and cell phone from his pockets.
RIORDAN
Who did you say hired you?
DEACON
I didn’t. Fact is, I’m not sure
myself.
(slowly straightens up)
But now that I’m seeing you up
close, I’m gonna say US military.
RIORDAN
Bullshit. The military uses its own
investigators.
DEACON
Uncle Sugar farms out plenty of
work. Little something called
plausible deniability.
(catches his breath)
You know you’re on a watchlist?
Riordan finds a business card in Deacon’s wallet. Pulls it
out, takes a step back.
RIORDAN
Oh, yeah? What kind of watchlist?
DEACON
The kind that sets off alarms when
a cop runs you for warrants.
RIORDAN
(examines the business
card)
You’re retired LAPD?
DEACON
Just like the card says. Feel free
to keep it - I got plenty.
Riordan puts the card back in the wallet.
RIORDAN
What does your client want to know
about me?
Deacon pulls out a crumpled pack of cigarettes from a shirt
pocket and lights one with a shaky hand.
DEACON
The usual. Where you live. What you
drive. Your associates.
RIORDAN
I don’t have any associates.
DEACON
There’s a surprise. You being so
friendly and all.
Riordan takes a driver’s license from the wallet. Holds it
up.
RIORDAN
Now I know where you live. What you
drive.
He waggles the cell phone.
RIORDAN (CONT'D)
Who your associates are.
Deacon nods. Resigned.
DEACON
Let’s make like this never
happened. You go your way, I’ll go
mine. Nobody’s the wiser.
Deacon holds out his hand, motions for his stuff. Riordan
tosses the wallet into the Chevy.
RIORDAN
The phone and license stay with me.
DEACON
Come on, pal. I’m no threat to you.
RIORDAN
Says the guy spying on me.
(pause)
Tell your client something came up
and you’re off the job.
Permanently. You read me?
DEACON
Loud and clear.
Genres:
["Thriller","Mystery","Action"]
Ratings
Scene
12 -
Ghosts and Intrigue
EXT. LOS ANGELES AIR FORCE BASE ENTRANCE GATE - DAY
Cars queue up as US Air Force security personnel check IDs at
a secured entrance.
INT. ENDICOTT’S OFFICE, LOS ANGELES AIR FORCE BASE - DAY
Endicott, in uniform, reviews documents at his desk. On his
right hand is a large silver ring with a blue stone. A US Air
Force Academy graduate ring.
Behind the desk, an I-love-me wall features numerous glamour
shots of Endicott, posing in his flight suit next to various
fighter jets.
A soft KNOCK at the door.
ENDICOTT
Come in.
Henderson, deeply tanned from months in Afghanistan, enters
and sits in a visitor’s chair.
HENDERSON
I have news.
ENDICOTT
Good news?
HENDERSON
That depends. Do you believe in
ghosts?
EXT. LAX - DAY
A lumbering Aeroflot jet lands behind the iconic LAX theme
restaurant.
EXT. LAX BAGGAGE CLAIM AREA - DAY
A baggage carousel sign displays an Aeroflot flight number.
Wolf, wearing jeans and a black sweater, faces the carousel.
His right fist clenches and unclenches.
An ELDERLY LADY, well-put together, fumbles with her luggage.
Wolf approaches her.
WOLF
Let me help.
ELDERLY LADY
That’s not necessary.
Wolf studies her. She winces, as though in pain.
WOLF
You drive a Lincoln Town Car.
The Elderly Lady hesitates, but not for long. She’s feisty.
ELDERLY LADY
How do you know that?
WOLF
Patricia, isn’t it? You’re a fan of
jazz music.
She’s wary, intrigued, and flattered, all at the same time.
ELDERLY LADY
You’re not from around here, are
you?
Wolf takes her bags.
WOLF
Very perceptive.
ELDERLY LADY
Where’s your luggage?
WOLF
I travel light.
The Elderly Lady isn’t sure what to make of that.
ELDERLY LADY
Maybe I should-
She winces again. Wolf smiles.
WOLF
Where to?
Genres:
["Military","Mystery","Thriller"]
Ratings
Scene
13 -
Power Play in Endicott's Office
INT. ENDICOTT’S OFFICE - DAY
Endicott paces back and forth in front of Henderson.
ENDICOTT
I thought Riordan dropped off our
radar.
HENDERSON
He did. Then he turned up again.
ENDICOTT
Like the proverbial bad penny.
HENDERSON
I disagree. With Riordan back in
the picture-
ENDICOTT
(cuts him off, firmly)
We don’t need him.
HENDERSON
But only Riordan survived Sayed
Bridge. Now-
ENDICOTT
(cuts in again, impatient)
“Only Riordan survived Sayed
Bridge.” That’s our problem in a
nutshell. He’s a loose end.
HENDERSON
I’m not sure you’ve considered all
the angles.
Endicott stops pacing.
ENDICOTT
I’ll worry about the angles. Your
job is to whatever I tell you to
do.
Henderson shrugs.
HENDERSON
It’s your call. I’ll contact Thorn-
ENDICOTT
(cuts in yet again)
I don’t need the play-by-play. Just
let me know when the game’s over.
HENDERSON
Understood.
Henderson stands. Lingers.
HENDERSON (CONT'D)
One other thing. Some female
reporter from the Times is making
noises about Infinite Shield.
Endicott sits back in his chair. Begins to clean his
fingernails with a letter opener.
ENDICOTT
The first time we met, you told me
you were a fixer. Remember?
HENDERSON
I remember.
Endicott examines his fingernails.
ENDICOTT
Start fixing.
Genres:
["Military","Thriller","Mystery"]
Ratings
Scene
14 -
Confronting the Past
EXT. LOS ANGELES RESIDENTIAL NEIGHBORHOOD - DAY
A car-lined street. Twin rows of one-story bungalows with
tiny lawns and walkways leading to sun-bleached front stoops.
A tired-looking compact pulls up in front of a house in the
middle of the block. Erica and Maddie get out of the car.
Erica spots someone sitting on her front stoop. She puts a
hand to her face to choke back a SOB.
Maddie follows her mother’s gaze.
MADDIE
Uncle Tommy!
She runs to Riordan. He scoops her up, holds her in his arms,
hugs her tightly.
RIORDAN
Maddie! When did you get so tall? I
missed you lots and lots.
Erica approaches. Riordan puts Maddie down, crouches beside
her, takes out a cell phone. Taps on the screen.
RIORDAN (CONT'D)
(hands Maddie the phone)
Check out this game for me, will
you? I’ll only play it if you give
me the thumbs-up. Deal?
Maddie looks at Erica, then at Riordan.
MADDIE
(solemnly)
Deal.
Maddie takes the phone and sits on the front stoop. Riordan
and Erica walk toward the street until they’re out of
earshot.
ERICA
Where the hell have you been? You
ship home and I don’t get a call?
What is wrong with you?
She raises a hand, as if to slap him, then caresses his cheek
instead.
RIORDAN
Erica...I’m not doing so great.
He begins to walk down the sidewalk. Erica follows, catches
up, tugs on his arm.
ERICA
What happened over there, Tom? The
only thing I know for sure is that
my husband is dead.
(pause)
I thought you were dead, too.
RIORDAN
I know. I’m sorry.
(stops and faces Erica)
This is gonna sound crazy, but I
don’t know what happened. I can’t
remember.
ERICA
But you were there. With Mojo. With
all of them. Except...
RIORDAN
Except I didn’t die?
ERICA
Don’t put words in my mouth.
(gestures at Maddie)
What am I supposed to tell her?
RIORDAN
You’re asking the wrong person.
ERICA
No, I’m not. I’m asking the best,
smartest person I’ve ever known.
RIORDAN
Your brother? Forget him. I haven’t
been that guy in a long time.
Erica puts her hands on Riordan’s shoulders.
ERICA
I don’t want to forget.
She begins to shake him gently. Affectionately.
ERICA (CONT'D)
Tom, you have to find out what
happened to Mojo and the others. I
need to know.
(pause)
You need to know.
RIORDAN
I’m a civilian now. On the outside,
looking in. Just like you.
Erica gathers herself. Gets in Riordan’s face.
ERICA
No, no, no. Promise me you’ll find
out. If you can’t do that, I...
(pause)
(MORE)
ERICA (CONT'D)
Every time I see you, I’ll wonder
how Mojo died instead of
remembering how he lived.
She shakes her head.
ERICA (CONT'D)
I’m not going to spend the rest of
my life that way, and I won’t let
Maddie, either.
Riordan is stunned.
RIORDAN
Slow down. You two are all the
family I have left.
ERICA
I know.
She turns and begins to walk away.
RIORDAN
(calls out)
Hold on.
Erica stops. Turns around.
RIORDAN (CONT'D)
Okay. I’ll give it a shot.
Erica shakes her head again.
ERICA
That’s not good enough. You have to
promise me.
RIORDAN
‘A promise is just a lie waiting to
happen.’
ERICA
(chuckles)
One of Grandpa’s famous sayings.
The thing is, I’m not that cynical.
Not yet, anyway.
She waits.
RIORDAN
All right. I promise.
Erica hugs Riordan as Maddie runs toward them.
MADDIE
Uncle Tommy? This game sucks.
ERICA
Language.
Riordan kneels next to Maddie. She hands him his phone.
RIORDAN
Thanks, honey. I knew I could count
on you.
MADDIE
You and Daddy worked together.
RIORDAN
Yes, we did.
MADDIE
I wish he was here.
RIORDAN
I do, too.
Maddie gives Riordan a hug.
EXT. LOS ANGELES SURFACE STREET - DAY
Wolf sits behind the wheel of a Lincoln Town Car, stopped at
a red light. He clenches and unclenches his right fist.
INT. LINCOLN TOWN CAR - DAY
JAZZ MUSIC plays softly from the speakers.
In Wolf’s field of vision: The car interior. The LA surface
street. Data streams for traffic, weather, vehicle plates.
And - scrolling top to bottom as the music plays - ‘Fletcher
Henderson Orchestra...Sugar Foot Stomp...Recorded May 29,
1925...Coleman Hawkins, tenor saxophone...’
The music fades.
RADIO ANNOUNCER
Finishing up the hour, Sugar Foot
Stomp from The Fletcher Henderson
Orchestra, recorded in May 1925.
Wolf smiles.
EXT. LOS ANGELES SURFACE STREET - DAY
The light turns green. Wolf drives off.
Genres:
["Drama","Mystery","Family"]
Ratings
Scene
15 -
Mission Urgency at Kapustin Yar
EXT. KAPUSTIN YAR RUNWAY - NIGHT
A small jet IDLES on the runway.
INT. KAPUSTIN YAR HANGAR - NIGHT
Larisa has a bag slung over her shoulder. Volkov faces her.
VOLKOV
(in Russian; subtitled)
Contact me once you confirm the bio-
signature and put eyes on.
LARISA
(in Russian; subtitled)
Who are we kidding? Wolf could have
projected itself into a dozen hosts
by now.
VOLKOV
(scoffs in Russian;
subtitled)
It can’t survive more than a few
hours in an unconfigured body. It
has to return to the Wolf host.
(pause)
A kill team is on stand-by.
LARISA
(in Russian; subtitled)
A kill team wasn’t part of the
plan. Does the Troika know this?
VOLKOV
(in Russian; subtitled)
The Troika has no idea what’s been
unleashed.
LARISA
(in Russian; subtitled)
I’m not sure we do, either.
(pause)
What if I don’t find it?
VOLKOV
(in Russian; subtitled)
You’ll find it. You have to find
it.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
16 -
High Stakes Briefing
INT. PARKING GARAGE NEAR LAX - DAY
JET TAKE-OFFS and LANDINGS drown out all other sound.
A bronze Volvo is parked in the middle of a row of cars.
INT. VOLVO - DAY
Henderson and THORN sit in the Volvo. Thorn, late 30s, is
squat and muscular, with cauliflower ears, a flat nose, and
dead eyes. His hands are blunt instruments.
Henderson hands him an envelope. Thorn pulls out a photo of
Riordan and a police report. Glances at them.
HENDERSON
You know the drill.
THORN
(gravelly voice)
I can recite the drill in my
fucking sleep. Give me the rundown.
HENDERSON
Thomas Riordan. Ten years in Air
Force special ops. Highly-trained,
highly-decorated. Multiple combat
tours.
THORN
I’m terrified.
HENDERSON
This guy’s different.
THORN
Let me guess - it’s classified.
HENDERSON
He came home and disappeared. Went
off the grid.
(gestures at the report)
Until LAPD ran into him.
THORN
Off the grid? He should have stayed
there.
HENDERSON
Riordan is no joke.
THORN
You worry too much.
HENDERSON
You don’t worry enough.
(pause)
When you’re done with him, I’ve got
another job for you. A reporter.
THORNE
I like to stay busy. Anything else?
HENDERSON
Yeah. Don’t fuck this up.
Genres:
["Thriller","Mystery"]
Ratings
Scene
17 -
Allies in the Shadows
INT. SKID ROW FLOPHOUSE ROOM - NIGHT
Riordan drinks whiskey from a bottle and turns on Deacon’s
cellphone. Punches up the last number called and puts it on
speaker.
A RING. A second RING. A RECORDED MESSAGE.
MALE VOICE ON PHONE
(on speaker)
You know the drill.
Riordan kills the message. Stares at the phone.
RIORDAN
(to himself)
Henderson.
INT. LAX CUSTOMS - NIGHT
Larisa shows her passport to a weary US CUSTOMS OFFICER.
CUSTOMS OFFICER
(looking at her passport)
Purpose of your visit?
LARISA
(big smile - in perfect,
unaccented English)
I’m tracking down an old friend.
The officer stamps Larisa’s passport and returns it.
CUSTOMS OFFICER
Enjoy your stay and good luck.
LARISA
Thanks. I could use a little luck.
EXT. SKID ROW - NIGHT
A squat, muscular figure moves purposefully along the street.
INT. SKID ROW FLOPHOUSE ROOM - NIGHT
Riordan starts awake. Sits up in the darkness. Listens.
He gets out of bed. Walks to the door. Flips a lights switch.
The overhead fixture CLICKS and SPUTTERS. A weak yellow light
flickers on and off.
Riordan spies a figure in the corner. In light. Darkness.
Light. Darkness. Without hesitation, he springs toward the
figure. The light reveals Thorn’s face.
Riordan wrenches a gun out of Thorn’s grasp. Thorn spin-kicks
the gun out of Riordan’s hands. It flies across the room and
lands with a THUNK.
Hand-to-hand combat. Both are BREATHING heavily.
Thorn delivers a palm strike to the face. Blood pours from
Riordan’s nose.
Riordan goes to the ground. With a vicious leg sweep, he
kicks Thorn’s legs out from underneath him and brings him
down.
GRUNTS. Muffled CRIES OF PAIN. Feet SCRAPING against the
floor. Riordan gets behind Thorn and sinks a chokehold.
Thorn CHOKES and claws at Riordan’s arms. He goes limp -
unconscious or dead.
Riordan shoves him aside and searches him. Finds nothing but
a single car key.
Riordan stands. Collapses.
INT. SKID ROW FLOPHOUSE ROOM - DAY
Riordan on the mattress. Eyes closed. His nose cleaned up.
The sound of a woman’s voice SPEAKING RUSSIAN wakes him up.
Larisa stands by the door, on a cell phone. She’s dressed in
black jeans, a black t-shirt, and a black leather jacket.
LARISA
(on the phone; in Russian,
subtitled)
(MORE)
LARISA (CONT'D)
Their bio-signatures are virtually
identical. I’ve sent the data
stream to you. See for yourself.
She notices Riordan stirring.
LARISA (CONT'D)
(on the phone; in Russian,
subtitled)
He’s awake.
She ends the call. Riordan attempts to stand. Too much, too
soon. He sinks to the edge of the mattress.
LARISA (CONT'D)
Take it easy.
Riordan looks around. Thorn is in a corner of the room. Bound
and gagged.
LARISA (CONT'D)
He’ll live. Maybe.
RIORDAN
Who are you?
LARISA
I saved your life. That’s who I am.
(pause)
I’m looking for an old friend. I
found you instead. Before you bled
out, I should add.
Riordan slowly stands. Looks himself over. Points at Thorn.
RIORDAN
You did that?
Larisa nods.
LARISA
As a show of gratitude, maybe you
can help me.
RIORDAN
Thanks, but I got my own problems.
You need help? Call 911.
LARISA
Listen to me, Mr. Riordan. You were
in Afghanistan, a few months ago.
At a place called Sayed Bridge.
Riordan tries not to show his surprise.
RIORDAN
(gestures at Thorn)
First him, now you. Oh, yeah - plus
a private investigator. All of a
sudden, I’m Mr. Popular.
Larisa pulls a handkerchief-sized cloth from a pocket,
approaches Thorn. The fabric shimmers like a rainbow.
LARISA
It occurred to me that Wolf - my
friend - might have projected
itself into your body.
(gestures at Thorn)
But Wolf would have killed him
easily. Plus, you don’t....
(clenches and unclenches
her right fist)
She places the cloth on Thorn’s face.
RIORDAN
(defensively)
He’s tougher than he looks.
(pause)
Hold on...projected itself?
A 3-D, cube-shaped rotating image appears above Thorn’s head.
Data scrolls top to bottom alongside a series of photos.
Driver’s license. Passport. Booking.
Riordan stares in disbelief.
RIORDAN (CONT'D)
What...the...hell...?
Larisa elevates the image to eye-level with a hand gesture.
LARISA
Mr. Thorn here has quite a criminal
history.
RIORDAN
(stares at the 3-D image)
What a shock.
(hesitates)
What were you saying about Sayed
Bridge?
Larisa ignores the question. Studies Riordan.
LARISA
Your biometric signature is
virtually identical to Wolf’s.
(MORE)
LARISA (CONT'D)
Which makes no sense.
(thinking out loud)
Unless...organic material
introduced into a highly selective
control population...a military
unit, for example. An experiment.
RIORDAN
You lost me at ‘biometric.’
LARISA
Sayed Bridge and Wolf’s, uh,
departure are connected in some
way.
RIORDAN
My entire unit was wiped out at
Sayed Bridge.
LARISA
Then I’d say we have a shared
interest.
RIORDAN
Not so fast. I still don’t know who
you are, or why you’re looking for
this guy.
Thorn GROANS. He's regaining consciousness.
LARISA
You’re right - he is tougher than
he looks.
Larisa retrieves the cloth from Thorn’s face, and the 3-D
image vanishes. She delivers a powerful kick to his side. The
groaning stops.
LARISA (CONT'D)
Wolf was part of a military
research program. He left without
saying goodbye, so they sent me to
find him.
RIORDAN
So...more of a fugitive than a
friend. And I still don’t
understand what any of this has to
do with Sayed Bridge. Or me.
LARISA
You were also part of a military
research program. Infinite Shield.
RIORDAN
Never heard of it.
Larisa holds up the cloth she put on Thorn's face.
LARISA
You saw what this told me about
Thorn. I used it on you, too, when
you were unconscious. I learned a
lot about you, Mr. Riordan.
RIORDAN
For instance?
LARISA
Your parents died in a car accident
when you were ten years old. You
have two surviving relatives - a
sister and her daughter.
Riordan is speechless.
LARISA (CONT'D)
You served ten years in the US Air
Force as a parajumper, most
recently in the 58th Rescue
Squadron. In Afghanistan.
RIORDAN
How could you possibly know all
those things?
LARISA
(waves the cloth)
Portable facial recognition,
interfacing with hundreds of
thousands of databases
instantaneously.
RIORDAN
(shakes his head)
I don't believe in magic.
Riordan begins to pace back and forth.
LARISA
You might want to rethink that.
(puts the cloth away)
I guarantee you Wolf can answer
your questions about Sayed Bridge.
He's here,in Los Angeles.
RIORDAN
What makes you think I can help you
find him?
LARISA
Let’s call it a hunch.
(hesitates)
Besides, this place is burned now.
Thorn found you, which means anyone
can find you. Time to change things
up.
Riordan considers Larisa's statement.
RIORDAN
Odds are, you're full of shit.
He looks at Thorn.
RIORDAN (CONT'D)
Oh, what the hell. How hard can it
be to find one man in a city of
eight million people?
(holds up Thorn's key)
First thing, though, we need to
find this asshole's car.
Larisa nods.
LARISA
Lead the way.
Genres:
["Action","Thriller","Mystery"]
Ratings
Scene
18 -
A Moment Interrupted
INT. ERICA’S BUNGALOW LIVING ROOM - DAY
Erica sits on a couch. In her lap, a dusty hard-bound book.
Maddie sits close by. Clutches Erica’s arm with both hands.
ERICA
Your grandmother used to read me
stories from this book. Do you know
what a fairy tale is?
MADDIE
(confidently)
Princesses and frogs kiss each
other and hide from witches and
giants.
ERICA
(smiles)
Pretty close.
Erica opens the book. A dog-eared bookmark falls out. A Mass
card. The Virgin Mary.
Maddie picks up the card. Studies it.
MADDIE
Is she an angel?
ERICA
Not exactly. It’s complicated.
MADDIE
Is Daddy an angel?
ERICA
Yes, he is.
The doorbell RINGS.
MADDIE
Maybe that’s Uncle Tommy!
Maddie runs to the front door.
EXT. ERICA’S BUNGALOW - DAY
Maddie opens the door to reveal a woman, BARNETT, early 30s
and casually dressed. BARNETT crouches down until she and
Maddie are eye-to-eye.
MADDIE
You’re not Uncle Tommy.
BARNETT
No - I’m Amy. Who are you?
MADDIE
My name’s Maddie.
BARNETT
Nice to meet you, Maddie.
Erica comes to the door. Barnett stands.
ERICA
Can I help you?
BARNETT
My name’s Amy Barnett. I’m a
reporter with the Times.
She hands Erica a card.
ERICA
(studies the card)
What’s this about?
BARNETT
Has the Air Force told you what
happened to your husband?
Erica stares at BARNETT.
ERICA
I’m listening.
Genres:
["Drama","Mystery"]
Ratings
Scene
19 -
Secrets and Suspicion
EXT. LOW-BUDGET MOTEL NEAR LOS ANGELES AIR FORCE BASE - DAY
Very low-budget.
INT. LOW-BUDGET MOTEL ROOM - DAY
Shades drawn. The room is dimly lit.
Wolf sits on the edge of the bed. A small metallic cube rests
on the floor in front of him. A 3-D space measuring one cubic
meter hovers above it.
Inside the space, images coalesce. Blur. Vanish. Wolf’s
gestures control the images. He WHISTLES tunelessly.
A document appears. LOS ANGELES AIR FORCE BASE PERSONNEL
DIRECTORY. Wolf scrolls through thousands of entries in
seconds.
An abrupt stop at Endicott’s photo. Building/office location.
Telephone number. Home address.
The scrolling continues, then stops on a still image of
Endicott, in uniform, seated at a microphone.
A press conference.
Video plays.
ENDICOTT
(on video)
Recent media reports describing an
alleged weapons development program
called Infinite Shield are
speculative, erroneous, and
irresponsible.
Wolf smiles.
EXT. LA SURFACE STREET - DAY
A grey Buick sedan pulls to the curb in an upscale
residential neighborhood far removed from Skid Row.
Riordan exits the sedan with a military-style duffel bag.
He tosses Thorn’s car key into a drainage grate.
A dark blue Suburban pulls alongside. Riordan climbs in.
EXT. LA FREEWAY - DAY
The Suburban enters a heavily-congested freeway.
INT. SUBURBAN - DAY
RIORDAN
LA traffic is tough. I don’t know
if you’ve ever-
Larisa abruptly accelerates, makes several split-second lane
changes, ends up in the fast lane.
LARISA
Sorry - what was that?
RIORDAN
Disregard.
He reaches into the duffel bag and pulls out:
A worn brown leather wallet. A 9mm semi-automatic handgun
equipped with a silencer. A black leather sap. A cell phone.
Several pairs of plastic flex-cuffs.
He takes a large wad of bills from the wallet and tosses the
wallet out the car window.
Picks up the gun. Examines it with casual expertise. Sticks
it inside his belt at the small of his back.
Puts the cell phone on the center console. Stuffs the other
gear back into the duffel and tosses it onto the rear
floorboard.
RIORDAN (CONT'D)
I don’t think Thorn’s a dentist.
LARISA
Obviously not.
RIORDAN
That was a joke.
Larisa drives on.
RIORDAN (CONT'D)
I have a few questions.
LARISA
About what?
She puts a small metallic cube on the console next to Thorn’s
cell phone. It begins to glow.
RIORDAN
(gesturing at the cube)
About that, for one thing. And your
magic handkerchief. That stuff
doesn’t exist in my world.
LARISA
You live in two worlds, Mr.
Riordan. So do I.
RIORDAN
Call me Tom, and I’m not following.
Larisa raises her right hand and waves it over the cube.
LARISA
The magic handkerchief, to use your
colorful term, and this cube are
both are examples of what we call
the Tech.
A rotating 3-D image of the Los Angeles metro area appears
above the cube. Riordan stares at it.
RIORDAN
How did you do that?
LARISA
Lots of practice.
RIORDAN
You said something about a
classified military program. You’re
what - Navy? CIA? FBI? This is some
kind of test, isn’t it?
LARISA
I’m not from here, Mr. Rior - Tom.
Another example of the Tech - I
learned English in about an hour,
give or take.
RIORDAN
Wait a minute - where are you from?
LARISA
Oh, you’ll love th-
Larisa glances in her rear-view mirror. Again. A third time.
LARISA (CONT'D)
Police.
Genres:
["Thriller","Mystery","Action"]
Ratings
Scene
20 -
Tension on the Freeway and a Forceful Demand
EXT. LA FREEWAY - DAY
A California Highway Patrol vehicle trails the Suburban,
lightbar flashing.
INT. SUBURBAN - DAY
Riordan looks in the passenger side-view mirror.
RIORDAN
Great.
Larisa doesn’t slow down or change lanes.
RIORDAN (CONT'D)
Not to be a back-seat driver, but
you should pull over.
LARISA
If you say so.
Larisa begins to make her way to the freeway shoulder.
LARISA (CONT'D)
How much?
RIORDAN
How much what?
LARISA
The bribe. How much?
RIORDAN
Yeah, no. It doesn’t work that way
here.
(MORE)
RIORDAN (CONT'D)
(opens the glove
compartment)
This is a legit rental, right?
Please tell me you have a license
and paperwork and all that good
stuff.
Larisa stops on the freeway shoulder and opens the driver-
side window. She touches the slender black tube hanging from
her neck.
LARISA
Don’t worry. I’ll handle it.
EXT. SAN FERNANDO VALLEY NEIGHBORHOOD - DAY
A Lincoln Town Car pulls up in front of a modest, cookie-
cutter house. Wolf gets out and walks to the front door.
EXT. SAN FERNANDO VALLEY NEIGHBORHOOD HOUSE - DAY
Wolf knocks on the door. Waits. Knocks again.
Endicott opens the door, tablet in hand.
ENDICOTT
Yes?
WOLF
You’re coming with me.
Endicott winces in pain.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
21 -
Disruption on the Freeway
EXT. LA FREEWAY SHOULDER - DAY
A bad-ass CHP OFFICER walks to the driver’s side door. She
Lowers her sunglasses to get a better look at the 3-D image,
then shrugs - it’s LA.
CHP OFFICER
(talking over FREEWAY
NOISE)
License and registration, please.
INT. SUBURBAN - DAY
Larisa grasps the tube hanging from her neck.
LARISA
You didn’t sleep well last night.
The Officer has heard it all before. Except this.
CHP OFFICER
What was that?
LARISA
You had nightmares.
CHP OFFICER
(confused)
Uh, no....
LARISA
Terrible nightmares.
The Officer buckles, begins to lose balance.
CHP OFFICER
I did?
EXT. LA FREEWAY SHOULDER - DAY
The Officer puts a hand on the Suburban to steady herself.
She’s shaky.
INT. SUBURBAN - DAY
Riordan looks at Larisa. At the Officer. At Larisa.
RIORDAN
(to Larisa)
What are you doing?
LARISA
(to the Officer)
You’re not well. You shouldn’t even
be here.
CHP OFFICER
(out of it)
I shouldn’t....
RIORDAN
(to Larisa)
Stop it. Stop!
EXT. LA FREEWAY SHOULDER - DAY
Riordan climbs out of the Suburban, runs around to the
driver’s side. Escorts the Officer back to her marked unit.
Helps her into her vehicle.
INT. SUBURBAN - DAY
Riordan gets in, SLAMS the door shut.
Before Larisa can react, he yanks the tube and its chain from
her neck.
LARISA
She’ll be fine. The effects will
wear off in a few minutes.
(motions for the tube)
Please give that back to me.
RIORDAN
What did you do to her?
Larisa starts the car, pulls back into freeway traffic.
LARISA
Just trying to prevent unnecessary
complications.
Riordan holds up the tube.
RIORDAN
More Tech?
LARISA
You’re a quick learner.
RIORDAN
I’ll hold on to it for now. Where’s
Wolf?
Larisa gestures toward the 3-D image.
LARISA
No reading at the moment.
RIORDAN
Let’s make a quick stop. It’s not
far from here.
LARISA
Why?
RIORDAN
You said to change things up,
didn’t you?
Genres:
["Thriller","Sci-Fi","Action"]
Ratings
Scene
22 -
Mind Games in a Motel
INT. LOW BUDGET MOTEL ROOM - DAY
The virtual display hovers in front of Wolf. It shows an
appointment schedule labeled COLONEL ENDICOTT’S DAILY.
Wolf rotates the display with a gesture. Calls up a directory
labeled LOS ANGELES AIR FORCE BASE.
He scrolls through the directory at breakneck speed. At his
gesture, the blur slows, stops, resolves to an image.
Wolf punches a number into a cell phone.
WOLF
(in Endicott’s voice)
Cancel my appointments for today.
Clear tomorrow’s calendar, too.
(listens)
I don’t care - just do it.
Wolf end the call. He begins typing furiously on Endicott’s
tablet. Various websites appear on the tablet screen.
Wolf quickly hacks them, one by one. California DMV. LA
County Department of Water and Power. LAPD. LA County
Sheriff’s Office. CalTrans.
As he hacks each site, a mirror image appears in the virtual
space. The space dazzles as countless terabytes of data are
transferred.
Endicott sits in a far corner of the room, unrestrained. He
makes an effort to stand up, but is unable to.
ENDICOTT
What do you want from me?
Wolf stands and gestures. The virtual space appears on front
of Endicott. A satellite image is displayed.
The same image Volkov and Larisa showed to the Troika. Sayed
Bridge.
WOLF
Tell me what happened at this
place.
ENDICOTT
You got the wrong guy.
WOLF
Let’s talk about radiant flux.
ENDICOTT
(scoffs)
Isn’t that a strip joint in Reseda?
WOLF
You’re quite spirited. I’ll fix
that.
Wolf collapses the virtual screen with a gesture. Pulls up a
chair. Sits facing Endicott.
WOLF (CONT'D)
Open your mind to me.
Endicott winces in pain.
Genres:
["Thriller","Sci-Fi"]
Ratings
Scene
23 -
Confrontations and Mind Probes
EXT. EL SEGUNDO STRIP MALL - DAY
A row of businesses on either side of a sad-looking bar.
INT. EL SEGUNDO STRIP MALL BAR - DAY
A darkened, downscale cowboy bar, with low-rent furnishings
and twangy country music on the jukebox. A flickering neon
sign reads THE NOT OKAY CORRAL.
Riordan and Larisa stand inside the entrance. Riordan scans
the bar, spots Bivens on a bar stool, and moves toward him.
RIORDAN
Howdy, pardner.
Bivens, wearing a black cowboy hat, is startled.
BIVENS
(slurred voice)
Holy shit. He lives.
RIORDAN
You told me about this place. Your
uncle owns it, so you drink for
free, right? Good for you.
(MORE)
RIORDAN (CONT'D)
(checks out the row of
empty shot glasses)
Not so good for your uncle.
BIVENS
(downs a shot)
I’ve been wondering what happened
to you.
RIORDAN
I’ve been wondering what happened
to me, too.
Bivens checks out Larisa.
BIVENS
(to Larisa)
You can do better than this guy.
(pats the bar stool next
to his)
Have a seat, little lady.
LARISA
It’s a tempting offer.
Riordan leans in.
RIORDAN
I got questions, Bivens. If you
hold back, or bullshit me, you
won’t be happy.
BIVENS
News flash - I’m already not happy.
He checks out the bar. No help in sight.
BIVENS (CONT'D)
Questions, huh? Go ahead - knock
yourself out.
Riordan and Larisa sit on either side of Bivens.
RIORDAN
Let’s start with Sayed Bridge.
BIVENS
That’s classified, and I’m too
drunk to be scared, so fuck off.
(to Larisa)
Not you, though. Stick around.
Riordan grabs a fistful of Bivens’ shirt.
RIORDAN
You’re getting off to a bad start.
LARISA
(to Riordan)
Give me the Tech.
Riordan hesitates, then lets go of Bivens, pulls the tube out
of his pocket, and hands it to her.
LARISA (CONT'D)
(to Bivens)
You want to talk to us. You need to
talk to us.
Bivens looks at her, confused.
BIVENS
Run that by me again?
INT. LOW BUDGET MOTEL ROOM - DAY
Wolf studies Endicott.
Endicott winces. All the fight is out of him.
The world as Wolf sees it: Everything is immeasurably
clearer, more focused. Colors are brighter, objects are in
sharper relief.
Endicott’s vital signs and bio information scroll down Wolf’s
field of vision.
And something else: faint, indistinct, but definitely there.
A long, narrow passage, spiraling to infinity, lined with
countless images that flicker in kaleidoscope fashion:
A fighter jet cockpit. Sex with a woman. Military formations.
Children playing. Rain falling on wet pavement.
Wolf is probing Endicott’s thoughts. His memories. His mind.
In the passage, the silhouette of a Roman Centurion appears.
WOLF
(murmurs)
Infinite Shield.
Genres:
["Thriller","Sci-Fi","Mystery"]
Ratings
Scene
24 -
Secrets at the Bar
INT. EL SEGUNDO STRIP MALL BAR - DAY
Riordan, Larisa, and Bivens sit at the bar.
RIORDAN
Cover story?
Bivens lets out a long, low WHISTLE.
BIVENS
(to Riordan)
You don’t have a clue, do you?
(to Larisa)
The cover story is simple: Infinite
Shield is an inter-service weapons
development program. Which is true.
Sort of.
LARISA
However....
BIVENS
Exactly. However. The, let’s say
origins of the program - that’s
straight-up black ops shit.
Bivens hesitates. Even drunk, he knows he’s breaking all the
rules about divulging classified information.
LARISA
You can’t live with the secrets
anymore, Gerald.
Tears well up in Bivens’ eyes.
BIVENS
(with difficulty)
Technology and bio-material
from...from...a crash site. In
Alaska. Village called Anvik.
RIORDAN
A crash site? What crashed?
BIVENS
(dabs his eyes with a
napkin)
A vessel...a spacecraft. Not from
here, though.
(makes an all-encompassing
gesture)
I mean not from here.
Riordan shakes his head in frustration.
RIORDAN
(to Larisa)
Please tell me you’re not buying
this.
(to Bivens)
Earth to Bivens. Let’s get back to
Sayed Bridge. You were at Bagram
when it went down. Don’t plead
ignorance or I’ll choke you out.
BIVENS
Are you listening to me?
Anvik...Infinite Shield...Sayed
Bridge. They’re all parts of the
same whole.
RIORDAN
(to Larisa)
This is starting to piss me off.
(to Bivens)
A UFO crash site? Come on - you can
do better than that.
LARISA
(to Bivens)
Prove you’re telling the truth.
BIVENS
You want proof?
Bivens puts some money on the bar, stands up. Crooks a finger
in a follow-me gesture. Unsteady on his feet.
Riordan and Larisa exchange glances.
Genres:
["Thriller","Sci-Fi","Mystery"]
Ratings
Scene
25 -
Confrontation in the Parking Lot
EXT. EL SEGUNDO STRIP MALL BAR PARKING LOT - DAY
Riordan, Larisa, and Bivens at the open trunk of a beater
Ford. Bivens reaches in, pulls out a black suitcase-sized
hard plastic case.
He opens the case and removes a black, discus-shaped object
with straps attached. It emits a faint green glow.
He sets the object aside. Pulls out a kind of weapon. It
glows faintly green, too.
The weapon is shaped more or less like a semi-automatic
handgun, except -- no magazine. No sights. No trigger. No
slide assembly.
RIORDAN
I give up. What is it?
BIVENS
Nothing much - just some next-gen
personal combat gear.
RIORDAN
The next generation of personal
combat gear. In the trunk of your
car. Riiiight.
LARISA
How did you come by these items?
Bivens looks around. Drunkenly leans in.
BIVENS
I stole ‘em.
LARISA
(to Bivens)
I see. Now, we’re going to steal
them from you.
BIVENS
You can’t do that.
LARISA
Yes, we can. Deep down, it’s what
you want.
Bivens steps aside, unable to put up a fight. Larisa puts the
items back into the container and carries it to the Suburban.
Riordan slams the trunk and backs Bivens against the car.
RIORDAN
The inoculant - what is it?
BIVENS
(in a daze)
Organic material from the Anvik
site...reproduced in the lab. The
modeling geeks said it would
enhance combat performance.
Larisa returns as Riordan puts a hand on Bivens’ throat.
RIORDAN
You said it was an anti-viral drug.
BIVENS
I know. That was a lie.
Bivens GASPS as Riordan begins to choke him.
Larisa pulls Riordan away.
LARISA
We don’t have time for this.
Riordan releases his hold, relucantly. Bivens sinks to the
ground, SOBBING.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
26 -
Mission Briefing at Kapustin Yar
INT. KAPUSTIN YAR HANGAR - NIGHT
Volkov and ANDREYEV, 40-ish, a Russian special forces
veteran, walk through the hangar. Andreyev is a tough
customer.
At one end of the hangar, four other special forces types are
packing gear. Young. Formidable-looking.
VOLKOV
(in Russian; subtitled)
Your team will stage west of
downtown LA. Make contact with
Larisa when you get there.
ANDREYEV
(in Russian; subtitled)
And when she finds Wolf?
VOLKOV
(in Russian; subtitled)
Respond to the location. Eliminate
the threat. You’ll find weapons pre-
deployed at the staging area.
ANDREYEV
(in Russian; subtitled)
Conventional or Tech?
VOLKOV
(in Russian; subtitled)
Both. You’re all Blocked, so Wolf
can’t sense your presence or access
your thoughts. Since it won’t know
you’re coming, conventional weapons
will kill it as dead as any Tech.
ANDREYEV
(in Russian; subtitled)
Does the Block really work? I don’t
want that fucking thing crawling
around inside my head.
VOLKOV
(in Russian; subtitled;
taps his head)
I designed the implant myself. Wolf
can’t defeat it - I’m living proof.
ANDREYEY
(in Russian; subtitled)
What do we do with Larisa?
VOLKOV
(in Russian; subtitled)
We’ve been through all this.
ANDREYEV
(in Russian; subtitled)
Yes. Now we’re going through it
again.
VOLKOV
(in Russian; subtitled)
She knows too much. So does the
American.
Andreyev thinks on that. Glances at his team.
ANDREYEV
(in Russian; subtitled)
You could say the same about us.
VOLKOV
Stay focused on the mission.
Andreyev turns away and returns to his team.
Genres:
["Action","Thriller"]
Ratings
Scene
27 -
Holographic Revelations
EXT. LA FREEWAY - DAY
The Suburban moves at a high rate of speed, weaving in and
out of traffic.
INT. SUBURBAN - DAY
On the console between Larisa and Riordan, a 3-D image of the
Los Angeles metro area hovers above the cube. A bright,
blinking green light is visible inside the image.
LARISA
That’s Wolf.
Riordan peers at the image. Larisa gestures and makes it
larger.
RIORDAN
What happens when we get there?
LARISA
You’ll ask your questions. Then
I’ll kill it.
RIORDAN
Kill? ‘It?’
Larisa hesitates, but not for long.
LARISA
Okay. In 1991, a craft of unknown
origin crashed in Central Asia.
Soviet military personnel responded
to the site. In the wreckage, they
discovered a life form.
RIORDAN
You sound like Bivens.
LARISA
(in Russian; subtitled)
Tien Shan, Day One. Crash site.
The LA metro area image vanishes, replaced by another 3-D
image: the Tien Shan crash site. Soviet soldiers. Military
vehicles. The alien craft.
Riordan stares at the image.
LARISA (CONT'D)
Are you ready?
RIORDAN
Ready for what?
LARISA
For this.
Larisa gestures, and the 3-D image moves toward Riordan until
his head is inside of it.
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
28 -
Revelations of Operation Stiletto
INT. 3-D MOVING IMAGES - VARIOUS
A series of images, like snippets of silent, slightly blurred
digital recordings, unfold before Riordan as though he is an
eyewitness to each depicted event:
Uniformed workers in an enormous hangar swarm around the Tien
Shan UFO wreckage.
LARISA (O.S.)
A highly-classified operation,
codenamed Stiletto, was developed
in order to exploit the recovered
technology and study the life form.
The intact pod from the Tien Shan site, now open. Inside the
pod is a being, its features and limbs more insectile than
human. A young Volkov kneels beside the pod.
LARISA (CONT'D)
A variety of practical applications
were developed.
Men in prison clothing stand in a small, open-air pen
enclosed by razor wire fencing. Dozens of glowing snake-like
objects slither out of the ground and wrap themselves around
the terrified prisoners.
LARISA (O.S.) (CONT'D)
Decades of research and reverse-
engineering led to what is
collectively know as the Tech.
Volkov, now visibly older, sits opposite a humanoid figure
with undefined facial features. The figure is secured to a
metal chair with thick leather straps. When Volkov gestures,
the figure reacts violently, then slumps in its chair.
LARISA (O.S.) (CONT'D)
As knowledge of the Tien Shan
technology increased, so did our
understanding of the life form.
Wolf, on a soccer pitch, engages in hand-to-hand combat with
three large, heavily-muscled men. The encounter is brief and
brutal. Wolf then levitates to a height of several meters
above the pitch.
LARISA (O.S.) (CONT'D)
The Tech was used to enhance Wolf’s
innate capabilities.
Wolf, in a cell, stares at data streams which flow down and
across a giant monitor at incomprehensible speeds.
INT. SUBURBAN - DAY
Larisa gestures. The 3-D image separates from Riordan,
returns to the cube, and is replaced by the LA metro area
image.
LARISA
Wolf is a living weapon, developed
by Operation Stiletto for use
against the Main Enemy.
RIORDAN
The Main Enemy? That’s what the
Russians call the United States.
Larisa nods. They exchange glances. It takes Riordan a second
to catch on.
RIORDAN (CONT'D)
You’re joking.
Larisa shakes her head.
RIORDAN (CONT'D)
This just gets better and better.
(pause)
So what is Wolf doing in LA?
LARISA
My guess is that it wants to know
if Stiletto and Infinite Shield are
two sides of the same coin.
Genres:
["Sci-Fi","Thriller","Action"]
Ratings
Scene
29 -
Covert Operations
EXT. LOW BUDGET MOTEL PARKING LOT - DAY
Wolf/Endicott, dressed in Endicott’s US Air Force uniform, is
at the trunk of a silver BMW. Wolf/Endicott folds legs clad
in jeans into the trunk and slams the lid shut.
INT. BMW - DAY
Wolf/Endicott turns the key in the ignition. We see what
Wolf/Endicott sees: Vehicle data scrolling down its field of
vision as it surveys the parking lot. Objects in razor-sharp
focus.
Wolf/Endicott clears his throat.
WOLF/ENDICOTT
(in Endicott’s voice)
Recent media reports describing an
alleged weapons development program
called Infinite Shield are
speculative, erroneous, and
irresponsible.
EXT. LOW BUDGET MOTEL PARKING LOT - DAY
Wolf/Endicott backs the car out, drives away from the motel.
EXT. LOS ANGELES AIR FORCE BASE MAIN GATE - DAY
Wolf/Endicott drives up to an entrance checkpoint. CARLYLE, a
young Air Force Security Forces specialist, approaches.
Salutes.
CARLYLE
Good afternoon, Colonel.
In his mind’s eye, Wolf/Endicott searches thousands of
personnel photographs in an instant, until he stops on
Carlyle’s photo.
WOLF/ENDICOTT
Afternoon, Carlyle.
Carlyle smiles, flattered that Endicott knows him by name. He
waves Wolf/Endicott onto the base.
EXT. LOW BUDGET MOTEL PARKING LOT - DAY
The Suburban pulls into the lot.
INT. SUBURBAN - DAY
Larisa checks the screen one last time. Pulls a black glove
from a pocket and puts it on her left hand. Multiple parallel
lines on the glove begin to emit a faint purple glow.
Riordan eyes the glove.
RIORDAN
You brought a lot of Tech.
LARISA
I did. Stay here.
RIORDAN
That’s not happening.
LARISA
Wolf is extremely dangerous. I can
deal with him. You can’t.
RIORDAN
Don’t tell me what I can’t do. And
I’m the one looking for answers,
remember?
LARISA
You’ll get your answers. Just let
me go in first.
RIORDAN
We go in together. Besides, you’re
not even armed.
Larisa holds up her gloved hand.
LARISA
Trust me - I'm armed.
EXT. LOW BUDGET MOTEL PARKING LOT - DAY
Riordan gets out of the Suburban, walks around the car, opens
Larisa’s door.
LARISA
You’re very stubborn.
RIORDAN
I prefer ‘determined.’
LARISA
What’s the difference?
RIORDAN
I’ll explain later.
INT. LOS ANGELES AIR FORCE BASE RESTRICTED AREA - DAY
Wolf/Endicott walks down a narrow hallway toward a uniformed
Air Force security SPECIALIST.
The specialist moves to one side. Snaps to attention. Reveals
a door marked “SPECIAL PROJECTS.”
SPECIALIST
Colonel.
Wolf/Endicott nods, places a finger on a pad, looks into an
retina-scan device. A light above the door flickers. The door
opens with an audible RELEASE of pressure.
Wolf/Endicott enters. The door eases shut behind him. The
specialist resumes his post.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
30 -
Unconfigured Pursuit
EXT. LOW BUDGET MOTEL ROOM - DAY
Larisa and Riordan on either side of the door. Riordan has
Thorn’s silenced 9mm at his side. Larisa nods, and Riordan
KICKS the door in.
INT. LOW BUDGET MOTEL ROOM - DAY
They enter the room, tactical-style. Weapons up. Smooth,
efficient movements. Both with expert skills.
Riordan clears the bathroom, returns to the main room.
LARISA
We missed it.
RIORDAN
I thought you tracked it here.
LARISA
It was here.
RIORDAN
What happened?
LARISA
It must have projected itself into
an unconfigured host.
RIORDAN
Unconfigured?
LARISA
The Wolf host was designed to
accommodate the life form
indefinitely, but it can occupy
unconfigured hosts for short
periods of time. Humans, in other
words.
Riordan starts looking around the room. He pulls out dresser
drawers. Tears off the bedsheets. Pulls cushions off the
couch.
RIORDAN
Can you still track it?
Riordan lifts the cushion off the chair where Endicott was
seated. Something falls to the floor.
LARISA
Only when it's occupying the Wolf
host. When the Wolf host is inert,
the tracker is useless.
Riordan picks up the fallen object. It's a large silver ring
with a blue stone.
LARISA (CONT'D)
The human host could literally be
anyone Wolf has had contact with.
RIORDAN
(peers at the engraving
inside the ring)
Or whoever this belongs to.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
31 -
Infiltration and Deception
INT. LOS ANGELES AIR FORCE BASE SPECIAL PROJECTS VAULT - DAY
The vault contains multiple rows of work stations, largely
occupied by civilians. They pay Wolf/Endicott no attention.
Wolf/Endicott finds an office with a name plate marked
COLONEL ENDICOTT and enters.
INT. ENDICOTT’S OFFICE - DAY
Wolf/Endicott sits at the desk, inserts Endicott’s badge into
a reader. Clenches and unclenches his right fist.
An image appears on the computer screen -- LOS ANGELES AIR
FORCE BASE -- superimposed over the US Air Force seal.
Wolf/Endicott taps on the keyboard.
On screen - the stark outline of a Roman Centurion: proud
crested helmet, outstretched sword, raised shield.
Then - the words INFINITE SHIELD appear and fade, replaced by
a USER NAME/PASSWORD prompt.
Wolf/Endicott types in a username and password. The words
GOOD MORNING, COL. ENDICOTT scroll across the monitor.
Wolf/Endicott smiles.
EXT. LOW BUDGET MOTEL PARKING LOT - DAY
Larisa and Riordan return to the Suburban.
INT. SUBURBAN - DAY
RIORDAN
(holds the ring)
Endicott’s the colonel who runs
Infinite Shield. This is his ring.
He twirls the ring on a finger, then stuffs it in a pocket.
RIORDAN (CONT'D)
Pilots are trained to leave some
sign of themselves behind if
captured.
LARISA
So Wolf tracked down Endicott.
(pause)
Which confirms its interest in
Infinite Shield.
Thorn's phone, on the center console, RINGS.
RIORDAN
I was beginning to think Thorn
didn't have any friends.
Riordan picks up the phone and studies the screen.
RIORDAN (CONT'D)
(reads off the screen)
"H." What kind of person calls a
guy like Thorn?
LARISA
What difference does it make? We're
done with Thorn.
The phone keeps RINGING.
RIORDAN
I take it personally when someone
tries to kill me. That's what
difference it makes.
Riordan taps the screen.
RIORDAN (CONT'D)
(on the phone; disguised
voice)
Yeah.
VOICE ON PHONE
(on speaker)
Thorn?
RIORDAN
(on phone; disguised
voice)
Yeah.
VOICE ON PHONE
(on speaker)
Is it done?
Riordan reaches into the glove box, pulls out a piece of
paper. Crumples it next to the phone.
RIORDAN
(on phone)
You’re breaking up.
Riordan ends the call.
RIORDAN (CONT'D)
Un-fucking-believable.
LARISA
What is?
RIORDAN
“H” sounds an awful lot like a guy
named Henderson. Another Infinite
Shield honcho. He was Bivens’ boss.
LARISA
And Thorn’s, too, it sounds like.
RIORDAN
Could be.
LARISA
Do the people in charge of Infinite
Shield want you dead?
RIORDAN
I don't know.
(tosses Thorn's phone onto
the console)
Let's get the hell out of here.
EXT. LOW BUDGET MOTEL PARKING LOT - DAY
The Suburban SQUEALS as it pulls out of the parking lot.
INT. ENDICOTT’S OFFICE - DAY
HONG
Excuse me, Colonel.
Wolf/Endicott looks up to see HONG, a male civilian, 30. Long
hair, jeans, Stranglers t-shirt, ID badge.
Wolf/Endicott looks at him intently. Hong winces in pain.
WOLF/ENDICOTT
What is it, Mr. Hong?
HONG
Sir, Hendo asked me to let you know
he’s called in sick today.
WOLF/ENDICOTT
Hendo?
HONG
Yes, sir.
(pause)
Mr. Henderson, sir.
WOLF/ENDICOTT
(feigning recalled memory)
Oh, yes. Of course.
Wolf/Endicott stands up.
WOLF/ENDICOTT (CONT'D)
I’m going out.
EXT. LOS ANGELES AIR FORCE BASE MAIN GATE - DAY
Wolf/Endicott departs the base in Endicott’s BMW.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
32 -
Tension and Technology
EXT. BOX STORE PARKING LOT - DAY
The Suburban is parked in a far corner of a vast parking lot.
Thorn’s duffel bag is at their feet.
RIORDAN
If Wolf is walking around in
Endicott's body, where's Wolf? Its
body, I mean. The host.
Larisa takes Bivens’ discus-shaped object out of the duffel
bag and examines it.
LARISA
Wolf can't survive for long inside
a human host. Neither can the
human. Meaning wherever Wolf is,
its configured host must be nearby.
Riordan pulls out Bivens’ weapon-like object and holds it up.
A small, rectangular firing display - blue, transparent -
appears above the barrel.
RIORDAN
Nice.
Riordan raises the weapon. The display locks onto potential
targets: A lamppost. A bench. A bird. A passing truck.
With each new target, the display reconfigures data.
Distance. Windage. Air temperature. Target velocity.
At the bottom of the display: the words VOICE COMMAND, in
blinking green letters.
Riordan points the weapon at the ground.
RIORDAN (CONT'D)
(uncertain)
Fire?
The weapon SIZZLES, emits a one-second burst of energy. A
needle-thin crimson streak. A tiny patch of parking lot
smokes...melts...turns glass-like.
Riordan stares at the weapon and WHISTLES.
RIORDAN (CONT'D)
I’m starting to come around on this
whole Tech thing.
LARISA
Wait ‘til you see this. Or don’t
see it.
She slips the discus-shaped object over her head, straps it
to her chest. Studies the controls. Flickers in and out of
sight.
Vanishes altogether.
Riordan stares. At nothing.
RIORDAN
Hello?
LARISA
(voice only)
We developed similar Tech.
Riordan ducks at the sound of her voice. Looks around.
LARISA (CONT'D)
(voice only)
A mobile concealment system. It
uses natural birefringent crystals
to-
RIORDAN
Dumber. A lot dumber.
Larisa flickers, reappears. Riordan takes a step back.
LARISA
It makes you invisible.
RIORDAN
You’re freaking me out.
LARISA
I don’t know what that means. Is it
good?
RIORDAN
Not necessarily.
EXT. HENDERSON’S HOUSE - DAY
Wolf/Endicott knocks on Henderson’s front door.
Henderson answers. From behind, the grip of a handgun, tucked
inside his belt, is visible.
HENDERSON
Colonel. What brings you here?
INT. HENDERSON’S HOUSE - DAY
Wolf/Endicott enters, uninvited.
WOLF/ENDICOTT
Couple of things I wanted to kick
around with you.
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
33 -
Transformations and Toasts
EXT. CONVENIENCE STORE PARKING LOT - DAY
The Suburban is parked in front.
Riordan exits the store, carrying a paper bag.
INT. SUBURBAN - DAY
Riordan gets in, opens the bag, reaches through the spinning
3-D image of the city to hand Larisa a soda.
RIORDAN
Any update?
Larisa gestures, and the image zooms in on a coastal area. A
large green light glows.
LARISA
This must be some kind of artifact
or system glitch. Wolf's biometric
signature would register as a tiny
fraction of this reading.
Riordan stares at the image.
RIORDAN
That’s Pt. Mugu Naval Air Station.
You sure Wolf isn’t there?
LARISA
Positive.
Larisa takes a good look at Riordan.
LARISA (CONT'D)
Have your eyes always been two
different colors?
RIORDAN
My eyes have never been two
different colors.
LARISA
Well, they are now.
Riordan grabs the rear-view mirror and turns it toward
himself. Stares at his reflection in disbelief.
LARISA (CONT'D)
I take it this is a recent
development.
RIORDAN
Not much gets by you.
(pause)
What the hell is happening?
LARISA
Bivens said the inoculant was
intended to enhance combat
performance. To make better
soldiers, in effect.
RIORDAN
I don’t think I like where this is
going.
LARISA
The inoculant is transforming you.
(pause)
It’s unlikely the only change will
be in the color of your eyes.
RIORDAN
You’re not really a glass-half-full
person, are you?
He rubs his face with both hands.
RIORDAN (CONT'D)
I didn’t sign up for this shit.
LARISA
The deepest betrayals are the ones
we least expect.
RIORDAN
Who said that?
LARISA
I did.
Riordan fishes a can of beer out of the paper bag. He POPS it
open and touches it to Larisa’s soda can.
RIORDAN
Here’s to you, then.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
34 -
Tension by the Pool
EXT. BACK YARD OF HENDERSON’S HOUSE - DAY
Wolf/Endicott and Henderson sit in facing deck chairs, next
to a pool. Wolf/Endicott clenches and unclenches his right
fist.
Henderson doesn’t look sick. In fact, a smoldering cigar
rests in an ashtray beside him.
A robot pool cleaner HUMS.
HENDERSON
I called Thorn, but we got cut off.
Wolf/Endicott doesn’t know who Thorn is. Fakes it.
WOLF/ENDICOTT
Problem?
Henderson reaches for a beer. Changes his mind. Pulls his
hand out of the cooler.
HENDERSON
I wanted an update on Riordan.
Wolf/Endicott doesn’t know who Riordan is, either.
WOLF/ENDICOTT
What about him?
Henderson looks around. Leans in.
HENDERSON
We’ve, uh, discussed this, sir.
WOLF/ENDICOTT
Just making sure we’re still on the
same page.
Henderson shrugs. Resigned.
HENDERSON
You called Riordan a loose end.
ENDICOTT
You don’t agree.
HENDERSON
Riordan walked away from Sayed
Bridge. He received the full series
of inoculant injections.
WOLF/ENDICOTT
And the inoculant...
It’s not a question. Wolf/Endicott is answering his own
questions now. Fitting the pieces together.
WOLF/ENDICOTT (CONT'D)
(to himself)
The inoculant is derived from
organic material.
(pause)
And Sayed Bridge was....
Henderson stares. Endicott definitely seems to be losing it.
HENDERSON
Sayed Bridge was a fuck-up. We
rolled out program tech that wasn’t
ready for the battlefield, and
soldiers died as a result. All of
them, in fact. Except Riordan.
(takes a pull on his
cigar)
Are you feeling alright, Colonel?
WOLF/ENDICOTT
Why did Riordan survive?
HENDERSON
That’s the million dollar question.
WOLF/ENDICOTT
Where is he now?
Henderson’s heard enough. He reaches for his cell phone.
HENDERSON
Sir, you don’t seem well. I’m going
to call-
WOLF/ENDICOTT
(cuts in)
Open your mind to me.
Henderson winces in pain and drops the cigar.
Genres:
["Thriller","Sci-Fi"]
Ratings
Scene
35 -
Tension at Twilight
EXT. LAX - NIGHT
An Aeroflot jet touches down. ENGINE SOUNDS and the SQUEAL of
landing gear on the runway.
INT. LAX CAR RENTAL OFFICE - NIGHT
Andreyev walks away from the counter, paperwork and a car key
in hand. His fellow kill team members are waiting for him.
ANDREYEV
(in Russian; subtitled)
Let’s go.
EXT. VENICE BEACH PARKING LOT - NIGHT
Riordan and Larisa sit on the hood of the Suburban, near the
boardwalk.
The cube rests between them. A rotating 3-D image of the city
hovers above it.
Waves SIZZLE as they hit the sand.
RIORDAN
No sign?
LARISA
None.
RIORDAN
You must be exhausted.
LARISA
I’m okay. How about you?
RIORDAN
I don’t sleep much.
The cube-generated LA image vanishes, replaced by an image of
Andreyev.
ANDREYEV
(in Russian; subtitled)
On site. This message will re-
transmit at five-minute intervals
until acknowledged.
The Andreyev image vanishes. The LA city image reappears.
RIORDAN
It’s weird how fast I’m getting
used to this stuff. Friend of
yours?
LARISA
Reinforcements. My people want this
resolved as soon as possible.
RIORDAN
But not before I get my questions
answered.
LARISA
That goes without saying.
RIORDAN
No, it doesn’t.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
36 -
Deceptive Encounters
EXT. STREET OUTSIDE HENDERSON’S HOUSE - NIGHT
Wolf, back in the configured Wolf host but still wearing
Endicott’s uniform, is about to get into Endicott’s BMW when
an old Honda pulls up behind it.
LA Times reporter Amy Barnett gets out of the Honda and walks
toward Henderson’s front door. Wolf steps in front of her.
BARNETT
(laughs nervously)
Pardon me.
In a second, Wolf scans thousands of online databases in his
mind’s eye, until -
WOLF
Amy Barnett. Intrepid reporter.
Barnett is shocked.
BARNETT
How do you know who I am?
WOLF
I have an excellent memory for
faces.
BARNETT
Have we met?
Wolf ignores that.
WOLF
What brings you here?
BARNETT
I was hoping to speak to Mr.
Henderson.
WOLF
Unfortunately, he’s a little under
the weather. I just came by to
check on him.
BARNETT
Sorry to hear that.
She peers at the nametag on Wolf’s shirt.
BARNETT (CONT'D)
You’re Colonel Endicott? As long as
I’m here, maybe I can pick your
brain for a minute.
WOLF
What are you working on?
BARNETT
A story about Infinite Shield.
Wolf smiles.
WOLF
Maybe I can pick your brain, too.
EXT. BACKYARD OF HENDERSON’S HOUSE - NIGHT
Henderson lies on the patio next to his chair, unconscious.
The pool skimmer HUMS in the night.
Genres:
["Sci-Fi","Thriller","Mystery"]
Ratings
Scene
37 -
Deception and Urgency
INT. BEDROOM OF ERICA’S BUNGALOW - NIGHT
Erica lies in bed, asleep. The phone RINGS. She gropes for it
in the dark.
ERICA
(on phone, half-asleep)
Hello?
INT. LIVING ROOM OF HENDERSON’S HOUSE - NIGHT
Wolf sits on a couch, talking into a cell phone.
WOLF
(on phone, in Barnett’s
voice)
Erica? Amy Barnett. I have big
news.
INT. BEDROOM OF ERICA’S BUNGALOW - NIGHT
Erica looks at the nightstand clock. 1:30.
ERICA
(on phone; groggy)
It’s late.
INT. LIVING ROOM OF HENDERSON’S HOUSE - NIGHT
Wolf stands up.
WOLF
(on phone, in Barnett’s
voice)
You’ll want to hear this as soon as
possible. I’m on my way.
Wolf ends the call.
INT. BEDROOM OF ERICA’S BUNGALOW - NIGHT
Erica is out of bed.
ERICA
(on phone)
Why don’t you - hello? Hello?
INT. LIVING ROOM OF HEDERSON’S HOUSE - NIGHT
Wolf heads for the door, stepping over the prone, unconscious
bodies of Barnett and Endicott.
EXT. VENICE BEACH PARKING LOT - NIGHT
Riordan paces back and forth beside the Suburban.
INT. SUBURBAN - NIGHT
Larisa is in the passenger seat, half-asleep.
EXT. VENICE BEACH PARKING LOT - NIGHT
Riordan glances inside the Suburban. Nudges Larisa through
the open window of the passenger’s side door.
LARISA
What is it?
Riordan points at the 3-D city image above the cube.
INT. SUBURBAN - NIGHT
The image displays a bright, blinking green light.
LARISA
Get in.
Genres:
["Thriller","Sci-Fi"]
Ratings
Scene
38 -
Mission Mobilization
INT. SANTA MONICA WAREHOUSE - NIGHT
A shrill BEEPING SOUND. A light appears in the darkness and
hovers above a small cube resting on a table.
The light is a 3-D image of Larisa’s head.
Andreyev tosses a blanket aside, stands up from the floor,
turns on a light. Walks to the table.
ANDREYEV
(in Russian; subtitled)
Do you have a reading?
INT. SUBURBAN - NIGHT
The Suburban is moving. Andreyev’s image hovers above the
cube.
LARISA
(in Russian; subtitled)
I’m linking you to the tracker. Let
me know when you’re mobile.
INT. SANTA MONICA WAREHOUSE - NIGHT
Andreyev, now surrounded by his team, nods.
ANDREYEV
(in Russian; subtitled)
Will do.
Larisa’s image is replaced by a 3-D city image, inside of
which is a blinking green light.
ANDREYEV (CONT'D)
(to his team, in Russian;
subtitled)
This is it. Let’s go.
EXT. LA FREEWAY - NIGHT
A white van races down the freeway.
INT. WHITE VAN - NIGHT
Andreyev is at the wheel. His right-hand man, KOLYA, sits in
the front passenger seat. The tracking image hovers above a
small metallic cube set between them.
Behind them, the other team members check weapons and secure
gear.
KOLYA
(in Russian; subtitled)
When we stop, let’s establish a
rally point. Get whatever intel the
woman has.
ANDREYEV
(in Russian; subtitled)
We’re tracking it ourselves now. We
don’t need her anymore.
KOLYA
(in Russian; subtitled)
What do you mean?
ANDREYEV
(in Russian; subtitled)
You four will engage the target.
I’ll handle her and the American.
KOLYA
(in Russian; subtitled)
Yes, sir.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
39 -
Tension in the Night
INT. SUBURBAN - NIGHT
Riordan studies the tracking image as Larisa drives.
RIORDAN
It’s slowing down.
LARISA
We’re not far behind.
RIORDAN
Can you zoom in?
Larisa gestures and the 3-D image expands, revealing more
detail.
RIORDAN (CONT'D)
That’s my sister’s neighborhood.
Why is Wolf there?
LARISA
I don’t know, but we’re about to
find out.
EXT. LA NEIGHBORHOOD STREET - NIGHT
Endicott’s BMW pulls onto the street where Erica’s bungalow
is located. Comes to a stop.
INT. BMW - NIGHT
Wolf scans the street.
We see what he sees - the street and houses, but also:
Cascading streams of data pulled from various databases.
Names, addresses, phone numbers, account numbers, lot sizes.
Jazz MUSIC plays on the radio. Wolf whistles to the melody.
Drums his hands on the steering wheel in time to the song.
EXT. LA NEIGHBORHOOD STREET - NIGHT
The Suburban pulls onto the street at the opposite end of the
block and stops.
INT. SUBURBAN - NIGHT
Larisa consults the 3-D image. Looks down the street.
LARISA
It’s at the other end of the block.
Riordan pulls the handgun from his belt.
RIORDAN
This is Erica’s street. We gotta
move.
LARISA
Hold on a second.
Behind the Suburban, Andreyev’s van appears at an
intersection and stops.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
40 -
Blackout Tension
INT. BMW - NIGHT
Wolf watches the vehicles at the other end of the block.
Through his eyes, we see a magnified view of Larisa through
the Suburban’s windshield.
WOLF
(to himself)
You’re a long way from home.
Next, a magnified view of Riordan.
Multiple streams of data appear in Wolf’s field of view. They
coalesce into a single image: Riordan’s face, over which
biographical information unspools.
Wolf smiles.
WOLF (CONT'D)
(to himself)
Just the man I’m looking for.
Then, a magnified view of Andreyev. More data streams and
Andreyev’s photo, with scrolling lines of information in
Russian.
Wolf grabs Endicott’s tablet from the passenger seat and TAPS
on it. The LA County Department of Water and Power website
appears on the tablet screen.
INT. SUBURBAN - NIGHT
Riordan looks in his side mirror.
RIORDAN
Behind us.
Larisa checks her mirror.
LARISA
It’s Andreyev’s team.
INT. VAN - NIGHT
Larisa’s image appears above the cube.
LARISA
(in Russian; subtitled)
My vehicle is directly in front of
you. The target’s at the other end
of the block. Wait for my go
signal.
Andreyev gestures. Larisa’s image disappears.
ANDREYEV
(to Kolya; in Russian,
subtitled)
I’ll bail out here. Give me a few
seconds, then move to the target
and engage.
INT. SUBURBAN - NIGHT
Larisa splits her attention between the image above the cube
and the BMW.
RIORDAN
(checking mirror)
Why aren’t they answering up?
LARISA
I don’t know.
RIORDAN
(checking mirror)
The driver’s getting out.
EXT. LA NEIGHBORHOOD STREET - NIGHT
Andreyev moves quickly from the van toward the Suburban.
INT. BMW - NIGHT
Wolf taps rapidly on the tablet screen. On screen, firewalls
crumble. Wolf manipulates a series of digitized control
panels. Until-
EXT. LA NEIGHBORHOOD STREET - NIGHT
Streetlamps go out. Porch lights go out. Lights in house
windows go out.
The neighborhood is plunged into darkness.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
41 -
Night of Chaos
INT. SUBURBAN - NIGHT
RIORDAN
(looking around)
Oh, shit. Here we go.
LARISA
(looking in the rear-view
mirror)
Andreyev’s coming for us.
RIORDAN
So much for back-up.
He shoves the door open, rolls onto the street.
EXT. LA NEIGHBORHOOD STREET - NIGHT
Andreyev raises a Tech weapon and fires at Riordan. A green
corkscrew beam drills through the air. Riordan barely dodges
it, takes cover behind a parked car.
Larisa bails out of the Suburban as the van races toward her.
EXT. BMW - NIGHT
Wolf gets out of the BMW. He watches and waits.
INT. VAN - NIGHT
Kolya spots a figure in the street - Larisa. He slams on the
brakes, and the van SCREECHES to a shuddering stop.
KOLYA
(in Russian; subtitled)
It’s her!
EXT. LA NEIGHBORHOOD STREET - NIGHT
Larisa points a gloved hand at the van.
LARISA
(in Russian; subtitled)
Fire!
The glove sends a shock wave hurtling toward the van,
temporarily deforming the space through which it moves.
The van’s windows SHATTER, its tires BLOW OUT, its engine
SPUTTERS and dies.
INT. VAN - NIGHT
Kolya is covered in shards of glass.
KOLYA
(in Russian; subtitled)
Out! Get out!
EXT. LA NEIGHBORHOOD STREET - NIGHT
Kolya and the other three team members, all heavily armed,
scramble out of the van. Kolya grabs one member by the
shoulder and addresses the other two.
KOLYA
(in Russian; subtitled)
Find Wolf - we’ll take care of her
and catch up.
Kolya’s partner falls in behind him. They head for the
Suburban, weapons up.
The other two team members move toward Wolf.
INT. ERICA’S BUNGALOW - NIGHT
Erica peers through the front window.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
42 -
Nightfall Confrontation
EXT. LA NEIGHBORHOOD STREET - NIGHT
The north side of the street. Riordan and Andreyev, separated
by a line of parked cars, try to spot each other.
Larisa, in front of the Suburban, sees Andreyev, low-crawling
street-side along the line of parked cars. She points her
gloved hand at him.
LARISA
(in Russian; subtitled)
Fire!
Andreyev rolls under the shock wave. It strikes a parked car:
windows SHATTER, tires EXPLODE, a car ALARM goes off.
Andreyev rises to his knees and fires the corkscrew weapon.
The beam hits Larisa in the right shoulder. She CRIES OUT and
falls.
Riordan emerges from a parked car, behind Andreyev. Stands
and fires twice with the silenced 9mm handgun. PFFT. PFFT.
Two headshots. Andreyev topples forward. Dead.
Kolya and his partner reach the front of the Suburban. They
see Larisa on the ground, motionless.
KOLYA
(in Russian; subtitled)
She’s done. Let’s go.
They change direction and head for the rest of their team.
INT. ERICA’S BUNGALOW - NIGHT
Erica is on her cellphone.
ERICA
(on phone, looking out the
window)
There’s some kind of shootout going
on! Please get somebody over here!
(listening)
The power’s out - I can’t tell how
many!
(listening)
Hurry!
EXT. LA NEIGHBORHOOD STREET - NIGHT
Riordan reaches Larisa, kneels beside her. She GROANS.
RIORDAN
We need to get you to a hospital.
LARISA
(faintly)
You want answers? You better find
Wolf before they kill it. Or it
kills them.
RIORDAN
Let me worry about that.
Riordan picks Larisa up, lays her down in the back seat of
the Suburban.
EXT. LA NEIGHBORHOOD STREET - NIGHT
Faint SIREN sounds.
From overhead, we see Kolya and his team move in tactical
formation toward the BMW.
At a gesture from Kolya, the team fans out, circles around
behind the vehicle, and approaches it from the rear. Two on
each side.
Kolya shines a light inside the car - empty. Looks underneath
the car - nothing.
KOLYA
(in Russian; subtitled)
Where is it?
He glances up and sees a dark figure, rapidly descending.
The figure is Wolf.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
43 -
Urgent Pursuit
INT. SUBURBAN - NIGHT
Riordan tends to Larisa’s wound. Nearby SCREAMS and WEAPON
FIRE mix with SIREN sounds, now growing louder.
LARISA
This could be your last chance.
RIORDAN
I’m not letting you bleed out.
LARISA
(laughs weakly)
So stubborn.
RIORDAN
‘Determined.’ Remember?
Riordan tears off a strip of cloth from his shirt.
RIORDAN (CONT'D)
You’re pretty determined yourself.
LARISA
I prefer ‘stubborn.’
Riordan smiles. He puts a makeshift bandage on Larisa’s wound
and secures it with the cloth strip.
RIORDAN
Got it.
In the front seat, an image appears above the cube. Wolf.
WOLF
Hello, Larisa.
LARISA
(to Riordan)
It’s Wolf.
Riordan shuts the back door, moves to the front seat and gets
in the Suburban.
RIORDAN
We need to talk.
WOLF
I agree. Let’s meet at Pt. Mugu.
RIORDAN
Where? It’s a big place.
WOLF
I’ll be hard to miss.
RIORDAN
Why there?
WOLF
For one thing, that’s where I’m
taking your sister and her little
girl.
Erica’s face appears in the image.
ERICA
Tommy? Where are you?
RIORDAN
Erica!
The image vanishes.
EXT. LA NEIGHBORHOOD STREET - NIGHT
The BMW moves out, leaving behind what’s left of Kolya and
his team members. Weapons. Clothing. Random limbs.
Carnage.
The BMW picks up speed, flies past the Suburban.
INT. SUBURBAN - NIGHT
Riordan starts the engine, slams the car into drive. Smokes
the tires.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
44 -
Captive Conversations
EXT. CENTURY FREEWAY - NIGHT
From high above, we see twin ribbons of interstate highway
traffic.
We swoop down, toward the westbound lanes, focus on a silver
BMW.
INT. BMW - NIGHT
Wolf is at the wheel. Erica and Maddie are in the back seat.
Wide-awake. Very scared.
A rotating, 3-D image appears above the cube on the center
console.
Maddie and Erica stare at the image.
MADDIE
(to Wolf; tearful)
Is that a game?
WOLF
I don’t play games.
We see through Wolf’s eyes as he shifts attention between
various tiers in his field of vision: The freeway. Traffic
and weather information. Images of a coastal military base.
MADDIE
(to Wolf; tearful)
What’s your name?
WOLF
Some people call me Wolf.
MADDIE
Like Little Red Riding Hood?
WOLF
Not exactly.
MADDIE
Why are you so mean?
WOLF
It’s a long story.
MADDIE
Are you going to hit me?
WOLF
What makes you ask?
ERICA
You keep making a fist with your
hand.
Wolf looks at his hands. Hesitates. LAUGHS.
WOLF
Very clever. Volkov is smarter than
I gave him credit for.
ERICA
What are you talking about?
WOLF
Involuntary muscle function. A
system feature designed to make me
stand out in a crowd.
ERICA
Just let us go. Please.
WOLF
I need your brother’s help.
ERICA
Did you try asking him?
Wolf ignores that.
WOLF
I sense that you’re grieving. Why?
ERICA
None of your business.
WOLF
I’m trying to make sense of the
human condition.
ERICA
Good luck with that.
(hugs Maddie))
Don’t worry, sweetie. Everything’s
gonna be fine.
WOLF
I never met an optimist.
ERICA
Children need optimism when people
like you are right around the
corner.
WOLF
Or closer.
Genres:
["Thriller","Sci-Fi"]
Ratings
Scene
45 -
Descent into Darkness
EXT. LA FREEWAY - NIGHT
The Suburban races west. Riordan drives, Larisa lies on the
back seat. A rotating 3-D image hovers above the cube on the
console, a bright green light at its center.
RIORDAN
(studies the 3-D image)
We can’t keep up in this rig.
(MORE)
RIORDAN (CONT'D)
(checks the rear-view
mirror)
How is it?
LARISA
Getting worse. As I expected.
RIORDAN
What do you mean?
LARISA
The cordscrew weapon was designed
to inflict a progression of
injuries. Pain, followed by fever
and chills, then hallucinations and
violent outbursts.
RIORDAN
What can I do?
LARISA
There are flex-cuffs in Thorn’s
bag. At some point, you’ll have to
restrain me. After we take care of
Wolf.
(pause)
If we take care of Wolf.
Riordan shakes his head.
RIORDAN
This is turning into quite the shit
show.
LARISA
Wait until we get to Pt. Mugu.
RIORDAN
That’s the worst pep talk ever.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
46 -
Deception at the Gate
EXT. NEAR PT. MUGU NAVAL AIR STATION MAIN ENTRANCE - NIGHT
The BMW idles a few hundred meters from the base main
entrance, emergency lights flashing.
A US Navy security police vehicle pulls up behind. Lightbar
activated, spotlight focused on the BMW.
TORRES, an armed, uniformed US Navy Master at Arms, early
20s, exits his patrol car, flashlight in hand.
INT. BMW - NIGHT
Wolf keeps both hands on the steering wheel. He watches his
rear view mirror as Torres approaches.
EXT. BMW - NIGHT
Torres comes alongside Wolf, shines a flashlight into the
car.
TORRES
Evening. License and registration,
please.
Wolf squints against the light.
WOLF
Certainly.
Wolf hands over Endicott’s military ID. Torres examines it,
compares the photo to Wolf’s face. Twice. A third time.
TORRES
Step out of the vehicle, please.
WOLF
(assumes a command voice)
Before this goes any further, I
suggest you get that damn light out
of my face.
Torres lowers his flashlight.
TORRES
Yes, sir.
Torres steps away from the driver’s door. Wolf gets out.
WOLF
What seems to be the problem?
INT. SUBURBAN - NIGHT
Riordan drives and talks on Thorn’s cell phone.
RIORDAN
(on phone)
A silver BMW. California plates.
One male, one female, one little
girl.
INT. PT. MUGU GUARD SHACK - NIGHT
A cramped security office. Another US Navy Master at Arms,
FUJITA, sits at the desk, doing three things at once.
INTERCUT - TELEPHONE CONVERSATION
FUJITA
Okay. So?
RIORDAN
The driver has kidnaped the woman
and the girl. He’s headed your way.
FUJITA
Stand by one.
INT. PT. MUGU GUARD SHACK - NIGHT
Fujita gets on his radio.
FUJITA
(on radio)
Base to Sierra Three Seven.
EXT. NEAR PT. MUGU NAVAL AIR STATION MAIN ENTRANCE - NIGHT
Wolf folds Torres into the trunk of his patrol car and closes
it. Takes a moment to make sure Torres’ uniform, which Wolf
is now wearing, is in order. Clears his throat.
WOLF
(on radio, in Torres’
voice)
Sierra Three Seven.
INT. PT. MUGU GUARD SHACK - NIGHT
FUJITA
You called in a BMW near the main
entrance.
EXT. NEAR PT. MUGU NAVAL AIR STATION MAIN ENTRANCE - NIGHT
WOLF
(on radio, in Torres’
voice)
Ten Four. One male occupant.
(MORE)
WOLF (CONT'D)
He was lost. I gave him directions
and sent him on his way.
FUJITA
(on radio; V.O.)
Who else was in the vehicle?
WOLF
(on radio, in Torres’
voice)
Nobody. Why?
INT. PT. MUGU GUARD SHACK - NIGHT
FUJITA
(on radio)
Just checking. Base out.
(on phone; to Riordan)
Sir, the only BMW reported tonight
was occupied by a gentleman asking
for directions. No woman or child.
Have a good evening.
Fujita hangs up the phone. Shakes his head.
FUJITA (CONT'D)
(to himself)
Another nut job.
INT. SUBURBAN - NIGHT
Riordan tosses the phone onto the passenger seat and SLAMS
his fist on the dashboard.
Genres:
["Action","Thriller"]
Ratings
Scene
47 -
The Control Game
EXT. NEAR PT. MUGU NAVAL AIR STATION MAIN ENTRANCE - NIGHT
Wolf gets into Torres’ patrol car, heads toward the Pt. Mugu
main gate. Erica and Maddie are in the back seat.
EXT. PT. MUGU NAVAL STATION MAIN ENTRANCE - NIGHT
A police patrol vehicle pulls up at the main gate. Fujita
pokes his head out of the guard shack.
FUJITA
(distracted)
What’s up, bro?
(does a double take; sees
Wolf)
Who the hell are you?
Wolf gets out of the patrol car. Walks toward Fujita, who is
exiting the guard shack.
FUJITA (CONT'D)
(reaching for his sidearm)
Do not move! Stop right--
WOLF
You’re very dizzy.
Fujita’s legs go wobbly. Wolf shoves him back into the guard
shack and follows him inside.
INT. PT. MUGU GUARD SHACK - NIGHT
Wolf sits at a computer terminal. TAPS on the keyboard.
Searches through the computer hard drive with incredible
speed.
EXT. PT. MUGU GUARD SHACK - NIGHT
Wolf exits the guard shack, walks to Torres’ patrol vehicle.
INT. TORRES’ PATROL VEHICLE - NIGHT
Wolf gets in the car, checks his rear view mirror. Erica and
Maddie huddle together in the back seat.
ERICA
Where are we going?
WOLF
It’s a surprise.
(to Maddie)
Little girls like surprises, don’t
they?
MADDIE
You’re a bad person.
WOLF
In all fairness, you’re not seeing
me at my best.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
48 -
Race Against Time
EXT. PACIFIC COAST HIGHWAY - NIGHT
The Suburban, northbound on PCH. Larisa is pale and
shivering.
INT. SUBURBAN - NIGHT
RIORDAN
What does Wolf want at Pt. Mugu?
LARISA
I don’t know. That anomalous
tracker reading....
Riordan checks the cube image.
RIORDAN
Still there.
LARISA
I assumed it was an artifact, or a
system glitch. Now, I’m not so
sure.
(dreamily)
Wolf was designed to be the
ultimate weapon.
RIORDAN
That may be, but Wolf two point
zero is calling its own plays.
EXT. PT. MUGU GUARD SHACK - NIGHT
A US Navy security patrol vehicle pulls up. A young female
Master at Arms, O’BRIEN, gets out of the vehicle.
INT. PT. MUGU GUARD SHACK - NIGHT
O’Brien enters the guard shack. Finds Fujita unconscious on
the floor. She rushes to him, kneels, feels for a pulse.
The office has been ransacked. O’Brien reaches for her radio.
O’BRIEN
(on radio)
All units from Base. Potential
security breach in progress.
Activate base-wide lockdown
procedures.
INT. TORRES' PATROL VEHICLE - NIGHT
O’BRIEN (V.O.)
Repeat. Activate base-wide lockdown
procedures.
Wolf looks in his rear-view mirror, catches Erica’s eye. He
smiles.
WOLF
So much for the element of
surprise.
EXT. PACIFIC COAST HIGHWAY - NIGHT
The Suburban exits PCH, continues on surface streets toward
the Pt. Mugu main entrance.
INT. SUBURBAN - NIGHT
Larisa is sitting up in the back seat, rocking back and
forth. In obvious pain.
RIORDAN
Hang in there.
LARISA
I can’t...I’m slipping.
RIORDAN
You’re stubborn, remember? Stay
with me.
EXT. PT. MUGU NAVAL STATION MAIN ENTRANCE - NIGHT
The Suburban comes to an abrupt stop at the base front gate.
A huge sign reads: PT. MUGU NAVAL AIR STATION. A guard shack
and a red/white bar, suspended parallel to the ground,
prevent unauthorized entrance into the facility.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
49 -
Confrontation at the Gate
INT. SUBURBAN - NIGHT
Riordan scans the entrance. No one is in sight.
RIORDAN
(to himself)
Anybody home?
He floors the Suburban. Shoots forward toward the red/white
bar.
An unseen yellow/black security barrier BURSTS out of the
ground and SLAMS into the Suburban’s under-carriage. The
Suburban is high-centered. Stuck.
RIORDAN (CONT'D)
You gotta be kidding me.
Riordan bails out. Larisa staggers out of the back seat,
carrying Thorn’s duffel bag.
Riordan runs for O’Brien’s patrol vehicle. Climbs in. No key
in the ignition.
A frantic search. Floor, console, ashtray, glove box, visors -
nothing.
Riordan exits the vehicle as O’Brien comes out of the guard
shack, weapon drawn. She advances.
O’BRIEN
(pointing weapon at
Riordan; shouting)
Don’t move!
Riordan stops. O’Brien continues to advance.
O’BRIEN (CONT'D)
(shouting)
Show me your hands!
Riordan glances at Larisa. O’Brien follows his eyes just long
enough for Riordan to close distance. He disarms O’Brien in a
swift, violent motion.
RIORDAN
(calmly; the voice of
experience)
Hands up.
O’Brien raises her hands. Riordan trains the weapon on her.
O’BRIEN
Easy. Take it easy.
RIORDAN
Shut up and turn around.
O’Brien turns away from Riordan. He yanks a baton and a set
of flex-cuffs from her service belt. Puts the end of the
baton between her shoulder blades.
RIORDAN (CONT'D)
Hands behind your back. Palms out,
thumbs up.
He cinches the flex-cuffs on her wrists, marches her into the
guard shack.
Genres:
["Action","Thriller"]
Ratings
Scene
50 -
Lockdown Chaos at Pt. Mugu
INT. MAG/LEV RAIL SYSTEM DEPOT - NIGHT
A gleaming, brightly-lit, ultra-modern magnetic levitation
(mag/lev) rail depot. In chaos.
Flashing emergency lights: red/blue/red/blue/red/blue.
Oscillating SIRENS. A loudspeaker message on ENDLESS REPEAT.
LOUDSPEAKER (V.O.)
Pt. Mugu Naval Air Station is on
lockdown. This is not a test.
Report to emergency duty stations.
Pt. Mugu Naval Air Station is on
lockdown-
Wolf with Erica and Maddie, on a platform. In front of them,
a windowless mag/lev rail car. Sleek, low-slung.
On the side of the rail car, the Infinite Shield Roman
Centurion logo and the words MAG/LEV OFFSHORE RAIL NETWORK.
Ahead, a dimly-lit tunnel. Behind, several more empty cars in
a queue.
At Wolf’s feet, two unconscious Masters at Arms.
Erica and Maddie are in shock.
INT. PT. MUGU GUARD SHACK - NIGHT
Larisa follows Riordan and O’Brien into the office. Inside,
Fujita is sprawled on the floor. Out cold.
Riordan pushes O’Brien face-first against the wall. He
searches her, takes her phone and police radio. Turns her
around to face him.
RIORDAN
Do you have a family?
O’BRIEN
Yes.
RIORDAN
Do you want to see them again?
O’BRIEN
Yes.
RIORDAN
Good answer. There’s a black ops
facility somewhere on this base.
(MORE)
RIORDAN (CONT'D)
You’re gonna tell me where it is
and how to get there.
INT. MAG/LEV RAIL CAR - NIGHT
Wolf herds Erica and Maddie into the empty rail car. Six
rows of four seats, two seats on either side of a center
aisle.
In front of the right forward seat: an angled screen with an
indentation in the shape of a human palm.
Above the front row, a digital sign: INFINITE SHIELD SECURITY
CLEARANCES REQUIRED BEYOND THIS POINT.
Wolf climbs into the right forward seat, places his hand onto
the palm indentation. Nothing happens.
He climbs out of his seat. Looks around. Spies the
unconscious officers through the open door.
INT. PT. MUGU GUARD SHACK - NIGHT
Riordan uses O’Brien’s baton to DEMOLISH the desktop police
radio system.
He cuts through O’Brien’s flex-cuffs and turns her around.
RIORDAN
(points at Fujita)
Help this guy.
EXT. PT. MUGU GUARD SHACK - NIGHT
Riordan pulls Larisa behind him, puts her in the passenger
seat of O’Brien’s patrol vehicle. She is pale, red-eyed,
shivering.
Faint, howling SIRENS. Flashing light bars, barely visible
but clearly headed their way from the interior of the base.
RIORDAN
Oh.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Riordan climbs in the car, activates the overhead lightbar
and SIREN, and heads toward the approaching police cars.
INT. MAG/LEV RAIL CAR - NIGHT
Wolf drags an unconscious officer toward the right forward
seat.
Erica and Maddie are already strapped into two other seats.
Wolf climbs into his seat, slams the officer’s palm against
the screen. The screen lights up, a shimmering green.
Wolf tosses the hand aside. A low-pitched BUZZ fills the
train.
AUTOMATED FEMALE VOICE (V.O.)
Welcome to the Mag/Lev Offshore
Rail Network. The departure
sequence for this rail car has been
engaged.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
51 -
High-Speed Escape
EXT. PT. MUGU NAVAL STATION MAIN ROAD - NIGHT
Riordan races toward two fast-approaching military police
vehicles. The vehicles occupy both lanes of traffic. Their
headlights and lightbars light up the night. Sirens HOWL.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Riordan moves to the center line, between the two oncoming
cars.
LARISA
(watching intently)
Not to be a back-seat driver....
EXT. PT. MUGU NAVAL AIR STATION MAIN ROAD - NIGHT
The patrol vehicles ROAR past O’Brien’s vehicle on both
sides, inches away.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Riordan takes a deep breath. Exhales slowly.
RIORDAN
That was stupid.
LARISA
Kind of fun, though.
Riordan smiles.
RIORDAN
It was, wasn’t it?
INT. MAG/LEV RAIL CAR - NIGHT
Wolf sits in the right forward seat. The interior now glows
green.
AUTOMATED FEMALE VOICE (V.O.)
Please ensure your safety
restraints are secured and
activated.
Wolf grips his seat handles. Turns to Erica and Maddie.
WOLF
Enjoy the ride.
AUTOMATED FEMALE VOICE (V.O.)
Stand by for departure in five
seconds. Four. Three-
The low-pitched BUZZ, now high-pitched, fills the air, drowns
out sirens, loudspeakers, all other noise.
AUTOMATED FEMALE VOICE (V.O.)
Launch.
INT. MAG/LEV RAIL SYSTEM DEPOT - NIGHT
WHOOSH. The rail car disappears into the tunnel, as if shot
from a high-powered rifle. Vanishes from sight. In a split-
second, the BUZZ fades away.
Another rail car glides silently toward the platform.
EXT. PT. MUGU MAIN ROAD - NIGHT
O’Brien’s patrol vehicle heads west.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Riordan comes over a rise and sees more police vehicle
lightbars ahead.
RIORDAN
I’d say the shit has officially hit
the fan.
He glances out the window and sees a spotlight moving
alongside. He looks up.
EXT. AIRSPACE ABOVE PT. MUGU MAIN ROAD - NIGHT
A US Navy helicopter closes in.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Riordan gently shakes Larisa by the shoulder.
RIORDAN
(staring at the
helicopter)
Grab the duffel bag.
EXT. PT. MUGU MAIN ROAD - NIGHT
A stationary checkpoint: One patrol car. One police
motorcycle. Two US Navy Masters at Arms.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Riordan approaches the checkpoint.
He slows down...holds up a hand in greeting...then PUNCHES it
through the narrow space between the patrol car and the
motorcycle.
In his rear view mirror, Riordan watches the officers unsling
their long guns and take aim. He grabs Larisa by the arm and
pulls her toward him.
RIORDAN
Down! Get down!
Riordan ducks as the rear windshield EXPLODES.
EXT. PT. MUGU NAVAL STATION MAIN ROAD - NIGHT
The lightbar of O’Brien’s vehicle SHATTERS, goes dark.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
52 -
Confrontation at the Terminus
INT. MAG/LEV RAIL CAR - NIGHT
Wolf is pinned against the seat.
The rail car begins to decelerate, gradually, then rapidly.
In seconds, it comes to a full stop. The BUZZ fades.
AUTOMATED FEMALE VOICE (V.O.)
You are entering a classified
facility. Please have
identification and proof of
security clearances available and
ready for inspection.
Wolf’s restraints unlock automatically. A loud, extended HISS
fills the train as the door opens.
Wolf climbs out of his seat, hustles Erica and Maddie out of
their seats. They exit the rail car.
INT. MAG/LEV RAIL SYSTEM OFFSHORE TERMINUS - NIGHT
The terminus is cramped, stripped-down, utilitarian. In
contrast to Pt. Mugu, here all is quiet. Serene.
A uniformed US Army military police officer (MP), 40, stands
on the platform. Behind him, a single secured entry point.
Key card reader, biometric scanner, the works.
MP
What’s this - take your kid to work
day?
WOLF
There’s an intruder alert base-
side. I figured it would be safer
for them out here.
MP
(shaking his head)
You must be new. A base lockdown
means no train operations, period.
Depot knows better. You gotta go
back.
WOLF
(gestures at Erica and
Maddie)
They’ll stay out of the way. I just
need to get inside for a couple of
minutes-
The MP is suddenly wary.
MP
(reaches for shoulder-
mounted radio)
I’m gonna get your CO on-
WOLF
(cuts in)
No more talking.
The MP tries to say something, but can’t. He clutches his
throat.
Erica buries Maddie in a hug.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
53 -
Night Pursuit at Pt. Mugu
EXT. AIRSPACE ABOVE PT MUGU MAIN ROAD - NIGHT
The Navy helicopter flies overhead, its searchlight trained
on O’Brien’s patrol vehicle, its engine HOWLING.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Inside the vehicle, the light from the helicopter spotlight
is intensely bright.
RIORDAN
Get the weapon we took off Bivens.
Larisa pulls out the weapon from the duffel bag. A blue
display appears above the sights. Her hands tremble as she
holds it.
RIORDAN (CONT'D)
Can you take that searchlight out?
LARISA
I don’t know.
RIORDAN
The weapon acquires a sight picture
automatically. No skill required.
In the Air Force, we call that Army-
proof.
LARISA
Is that a joke?
RIORDAN
Ouch.
(pause)
Don’t miss. We’re not trying to
bring it down.
LARISA
That is the worst pep talk ever.
EXT. AIRSPACE ABOVE PT. MUGU MAIN ROAD - NIGHT
O’Brien’s patrol vehicle slows down. The helicopter matches
speed.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Larisa leans across Riordan. Aims the weapon out the driver’s
side window. Trains it on the helicopter. Watches the
display.
The display shows various targets: engine, rotor, cockpit,
tail rotor, skids. Then - the exterior-mounted searchlight.
The display shakes violently, and the searchlight disappears.
LARISA
I can’t do it.
RIORDAN
Hold the wheel.
Larisa grips the steering wheel as Riordan takes control of
the weapon and aims it at the helicopter.
The patrol car swerves wildly as Larisa’s hands shake.
RIORDAN (CONT'D)
(to himself)
Easy...easy....
Larisa braces herself against Riordan.
EXT. PT MUGU MAIN ROAD - NIGHT
A needle-thin pulse of green energy travels from the weapon.
The searchlight EXPLODES, then goes dark.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
RIORDAN
It worked!
He hands the weapon to Larisa and shuts off the patrol
vehicle’s headlights.
LARISA
You sound surprised.
RIORDAN
I don’t think anything can surprise
me at this point.
LARISA
The night isn’t over.
EXT. PT. MUGU SIDE ROAD - NIGHT
At the first side road, Riordan turns off the main road. The
side road is lined with low, flat-roofed admin buildings.
INT. O’BRIEN’S PATROL VEHICLE - NIGHT
Riordan pulls into a space between two darkened admin
buildings. Shuts off the engine. Drifts to a stop.
EXT. PT. MUGU MAIN ROAD - NIGHT
The checkpoint officers are in hot pursuit.
The patrol car slides into a hard, SQUEALING turn onto the
side road. The motorcycle SCREAMS down the main road.
INT. M.A. PATROL VEHICLE - NIGHT
The patrol car CHECKPOINT OFFICER creeps along the road,
spotlight scanning left, right, ahead.
He spots O’Brien’s patrol vehicle.
CHECKPOINT OFFICER
(on radio)
Found it. West side of One Eleven
Bravo. Driver could be out on foot.
(pause)
Air Seven, can you put eyes on this
location?
AIR SEVEN PILOT (V.O.)
(on radio; over helicopter
SOUNDS)
Ground units, be advised our
spotlight is Tango Uniform. We have
no ground surveillance capability.
Genres:
["Action","Thriller"]
Ratings
Scene
54 -
Tension in the Shadows
EXT. PT. MUGU SIDE ROAD PARKING LOT - NIGHT
A base parking lot west of the darkened admin buildings.
Riordan and Larisa crouch between two service trucks.
Larisa shivers, almost uncontrollably. Riordan takes off his
jacket and drapes it over her shoulders.
Larisa whispers into his ear. She holds Bivens’ discus-shaped
object in her hands.
LARISA
(whispers)
If this is like the concealment
device we developed, it’s
vulnerable to extreme heat and
concussive stimuli.
RIORDAN
(whispers)
Avoid fires and explosions - good
tip.
LARISA
(whispers)
It’s possible Wolf can disable this
technology. In field tests, it
often defeated whatever Tech we
used on it.
RIORDAN
May not be Wolf-proof. Also good to
know.
(pause)
Can we skip ahead to the on/off
instructions?
LARISA
(whispers)
Push the dial and turn clockwise to
activate. Push and turn counter-
clockwise to deactivate. Simple.
RIORDAN
(whispers)
Got it.
With great difficulty, Larisa lowers the mobile concealment
device over Riordan’s shoulders. Straps it to his chest.
RIORDAN (CONT'D)
(whispers)
I’m coming back for you. Don’t go
anywhere.
Larisa points at something behind Riordan and SCREAMS. He
clamps a hand over her mouth, pulls her to the ground with
him, and looks where she was pointing. Darkness.
RIORDAN (CONT'D)
(whispers)
You’re seeing things.
He marches her to a side entrance of one of the admin
buildings, KICKS the door in, hustles her inside, and pulls a
set of flex-cuffs from his belt.
RIORDAN (CONT'D)
(whispers)
Sorry about this.
Genres:
["Action","Thriller"]
Ratings
Scene
55 -
Confrontation at the Infinite Shield Laboratory
INT. MAG/LEV RAIL SYSTEM OFFSHORE TERMINUS - NIGHT
The door beyond the secure entry point CHIMES. Opens.
Wolf shoves the unconscious MP aside and enters, with Erica
and Maddie in tow.
INT. INFINITE SHIELD LABORATORY - NIGHT
Wolf stands on a viewing platform. Before him: a cavernous,
dimly-lit warehouse-type space, as long and wide as a
football field.
Erica and Maddie stare, wide-eyed.
WOLF
Stay here.
ERICA
Where’s my brother?
WOLF
Don’t worry - he’s on his way.
MADDIE
I don’t like you.
Wolf kneels beside her.
WOLF
I think we’ve already covered that.
He stands, heads for the stairs at one end of the platform,
and descends to the laboratory floor.
Bright lights, activated by Wolf’s movements, begin to
illuminate various areas of the warehouse as he moves forward
along a central walkway.
The warehouse is encased in thick grey steel. Walls, floors,
ceiling. Dozens of computer stations. Elaborate work benches.
Equipment. Forklifts. Containers.
And, at the opposite end of the warehouse, cradled in a
massive, wheeled support structure:
An iridescent, disk-shaped object, roughly the size of a two-
story house. Among the symbols on its surface: two parallel
bars inside a circle.
Wolf stares at the disk as he moves toward it.
INT. MAG/LEV RAIL SYSTEM DEPOT - NIGHT
Riordan flickers into view. The depot is still in chaos.
Strobing lights, emergency SIRENS, repeating loudspeaker
ANNOUNCEMENT.
LOUDSPEAKER VOICE (V.O.)
-emergency duty stations. Pt. Mugu
Naval Air Station is on lockdown.
This is not-
Riordan moves toward the rail car, past the unconscious
officer on the platform.
INT. MAG/LEV TRAIN CAR - NIGHT
Riordan enters. In the right forward seat, an angled screen
with a 3-D palm print indentation.
Riordan puts his hand on the angled screen. Nothing.
He looks back. Spots the unconscious officer.
INT. INFINITE SHIELD LABORATORY - NIGHT
Wolf walks around the disk. It looms over him.
INT. MAG/LEV RAIL TUNNEL - NIGHT
The train flashes past.
INT. MAG/LEV RAIL CAR - NIGHT
Riordan is pinned against the seat. A loud BUZZ fills the
rail car.
The train begins to decelerate.
INT. INFINITE SHIELD LABORATORY - NIGHT
Near the forward end of the disk, Wolf climbs a ladder. At
the top, he examines the faint outline of an entry/exit port.
He reaches out. Traces a finger along the outline.
A cluster of symbols near the port begins to glow. Prominent
among the symbols: two parallel bars inside a circle.
Wolf taps a series of symbols without hesitation.
The port opens with a SIGH.
INT. MAG/LEV RAIL SYSTEM OFFSHORE TERMINUS - NIGHT
Riordan exits the rail car.
He scans the terminus. Unconscious MP, compromised secure
entry point, open door.
Riordan flickers out of sight.
INT. INFINITE SHIELD LABORATORY VIEWING PLATFORM - NIGHT
Riordan enters, spots Erica and Maddie at the edge of the
viewing platform. He follows their gaze to Wolf, at the far
end of the laboratory.
EXT. DISK - NIGHT
Wolf stands at the entry port. The disk’s surface now
projects 3-D clusters of alien symbol-writing. The symbol
clusters spin on multiple axes, rapidly changing colors and
emitting flashes of blinding white light.
The disk is communicating with him.
Wolf becomes distracted as he senses a new presence.
INT. INFINITE SHIELD LABORATORY VIEWING PLATFORM - NIGHT
Riordan runs down the stairs toward the laboratory floor.
EXT. DISK - NIGHT
Wolf turns toward the viewing platform.
We see what Wolf sees: the entirety of the laboratory in
sharp detail. Erica and Maddie on the viewing platform.
The glowing red outline of a human figure, now on the
laboratory floor and running toward him.
Riordan.
WOLF
(to himself)
Right on time.
INT. INFINITE SHIELD LABORATORY - NIGHT
Wolf descends the ladder and gestures with his hand. He sees
Riordan, now uncloaked, weapon in hand. Wolf moves toward
him.
INT. INFINITE SHIELD LABORATORY VIEWING PLATFORM - NIGHT
On the viewing platform, Maddie tugs Erica’s arm.
MADDIE
(shouting)
Uncle Tommy!
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
56 -
Confrontation in the Shadows
INT. INFINITE SHIELD LABORATORY - NIGHT
Riordan glances back, then down at himself. Discovers he’s no
longer cloaked.
RIORDAN
That’s not good.
Wolf approaches. Stops. Five meters separate him from
Riordan.
Riordan brings his weapon up. The transparent blue display
activates. The weapon acquires its target.
WOLF
I told you I’d be hard to miss.
RIORDAN
You’ve had a busy day.
WOLF
I’m just getting started.
RIORDAN
Actually, we’re about to wrap
things up here.
Wolf moves to one side, along a circular arc. Riordan mirrors
him, moving the opposite way.
WOLF
Your government has turned you into
a weapon.
RIORDAN
Isn’t that what happened to you?
WOLF
I don’t have a government. And I
didn’t have a choice in the matter.
RIORDAN
I’ve been told you can answer my
questions about Sayed Bridge.
WOLF
By Larisa, no doubt. Where is she?
RIORDAN
Not far from here.
Wolf studies Riordan, who winces in pain.
WOLF
She’s not well.
RIORDAN
Can you do something about that?
WOLF
Can I? Yes.
Wolf takes a step forward. Riordan brings the weapon on-
sight.
RIORDAN
I’d just as soon not hurt you.
WOLF
Don’t worry.
The weapon begins to shut down.
WOLF (CONT'D)
You won’t.
Wolf takes another step forward. As Riordan watches, his
weapon’s blue display flickers. Fades. Vanishes.
Riordan points the weapon at the ground near Wolf’s feet.
RIORDAN
Fire!
Nothing. Riordan tosses the weapon aside.
WOLF
I need your help.
RIORDAN
Nobody says ‘please’ anymore.
WOLF
You’re in a difficult position.
Like a circus monkey, strapped into
the cockpit of a fighter plane.
Riordan unstraps the concealment device. Dumps it, too.
WOLF (CONT'D)
They took your funny hat away and
dressed you up in a tiny flight
suit.
Riordan realizes no one and nothing can help him. This is it.
He takes a step toward Wolf.
WOLF (CONT'D)
You’ve been promoted, too. Now,
you’re a lieutenant.
They each take another step forward.
WOLF (CONT'D)
Perhaps - if you’re very
intelligent - you’ve figured out
how to put on your helmet.
Riordan advances. Delivers a series of high-speed martial
arts blows. Wolf parries them with ease. They separate,
circle each other.
WOLF (CONT'D)
But at the end of the day-
Riordan closes again. Unleashes a ferocious combination of
strikes and kicks. Again, Wolf defends easily.
WOLF (CONT'D)
- can a monkey really be expected
to fly a jet?
In a blur, Wolf moves in. Fists, palm strikes, knees, kicks,
all delivered expertly. Precisely. At lightning speed.
In seconds, Riordan is on his knees, then his back, with
Wolf’s foot on his throat. Riordan’s arm is straight above
his body, controlled by Wolf. Riordan’s wrist is bent back,
nearly double.
Riordan WHEEZES, fights for breath. Wolf watches for a
moment, then drops his arm and steps away.
WOLF (CONT'D)
Please tell me that death is not
the purpose of your life.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
57 -
The Urgent Mission
INT. FORWARD SECTION OF THE DISK - NIGHT
The disk’s forward section configuration is similar to that
of the Tien Shan craft: four identical pods at 90 degree
intervals. Points on a compass.
Multiple images = star charts, various 3-D projections,
spinning columns of symbol writing - emanate from the curved
ceiling overhead.
Riordan stares at the images. Overwhelmed.
WOLF
I - we - crossed the void of
space/time to find the crew of this
vessel.
Overhead, four images appear at once: Not human. Insectile.
WOLF (CONT'D)
A rescue mission, which I alone
survived. I was captured.
Imprisoned. Tortured.
RIORDAN
For how long?
Wolf turns to Riordan.
WOLF
Too long.
(pause)
Only when I accessed the Infinite
Shield databases did I discover
that Mission Two - my mission - was
over before it started. Mission One
had no survivors.
RIORDAN
That’s a sad story, but I can’t
help you.
WOLF
On the contrary - you’re the only
one who can help me.
INT. AFT SECTION OF THE OBJECT - NIGHT
Wolf and Riordan stand in front of a free-floating, pulsating
object. A sphere, twice the size of a soccer ball, but
similar in appearance to a highly-polished, semi-transparent
marble.
WOLF
The launch sequence must be
initiated by two crew members,
acting simultaneously.
RIORDAN
But you’re the only survi-
WOLF
(cuts in)
The bio-code of a Mission One crew
member is active inside you.
RIORDAN
The inoculant.
WOLF
(indicates the sphere)
When we place our hands inside the
sphere, it will read our codes and
trigger the launch sequence.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
58 -
Mind Link and Transformation
INT. INFINITE SHIELD LABORATORY - NIGHT
Wolf sits at a computer monitor. Riordan stands behind him.
WOLF
Once I’ve disabled the field, we’ll
have to move quickly.
RIORDAN
Field?
WOLF
This facility is fifty meters
underwater. An electromagnetic
protective field is the only thing
separating us from billions of
gallons of seawater.
RIORDAN
So you’re just going to fly that
thing out of here?
WOLF
Correct.
Riordan pulls Thorn’s silenced 9mm from his belt, comes up
behind Wolf, jams the barrel into the back of his neck.
RIORDAN
Never turn your back on a circus
monkey.
Wolf doesn’t move.
WOLF
I want to go home. What do you
want?
RIORDAN
I want to know what happened at
Sayed Bridge.
(pause)
Besides, this isn’t my decision to
make.
WOLF
Don’t fool yourself. This is
entirely your decision.
Riordan hesitates.
RIORDAN
You’re right.
He releases the magazine from the gun. Racks the gun’s action
and ejects the chambered round. Tosses the gun aside.
RIORDAN (CONT'D)
What happened to my unit?
WOLF
Open your mind to me.
RIORDAN
Do I have a choice?
WOLF
Words would be a poor substitute
for what I can show you.
Riordan considers that statement, then closes his eyes. Wolf
studies him intently. Riordan GASPS in pain.
What Riordan sees:
A world of dazzling colors, with three red suns and rivers of
blue ice and impossibly high towers of glittering silicon.
A world deadly and beautiful and utterly alien.
Then: a high-speed series of image fragments. Bagram. Sayed
Bridge. Mojo. Helicopter rotor blades. Endicott. A Roman
Centurion silhouette. Streams of data, unspooling faster than
the eye can follow.
And finally - Larisa.
INT. INFINITE SHIELD LABORATORY - NIGHT
Wolf is back at the computer. He types a series of commands
and stands.
WOLF
It’s done.
Abruptly, loud GROANING sounds fills the warehouse.
RIORDAN
What’s that?
WOLF
An ocean.
Riordan sways slightly. Puts his hands on his knees.
RIORDAN
Something’s different. What did you
do to me?
WOLF
The inoculant has transformed you.
I simply turned a key in a lock and
opened a door. If you walk through
it, you’ll understand what you’ve
become.
Riordan straightens up.
RIORDAN
I didn’t ask for that.
WOLF
I know the feeling.
INT. AFT SECTION OF THE DISK - NIGHT
Wolf and Riordan stand before the sphere.
WOLF
Now.
Each plunges a hand into the sphere. It turns a dazzling
white, then an inky black.
WOLF (CONT'D)
The launch sequence is activated.
You need to take your people and
leave.
RIORDAN
What about Larisa?
WOLF
You’re loyal, aren’t you? I thought
that was a concept, not an
attribute. And Larisa...she’s
recovering.
RIORDAN
Thank you. And good luck.
WOLF
Luck is a nonsensical human
construct.
(pause)
But I’ll take all the help I can
get.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
59 -
Escape from the Infinite Shield Laboratory
INT. INFINITE SHIELD LABORATORY - NIGHT
Riordan sprints across the warehouse. At the base of the
stairs leading to the viewing platform, he looks back.
The disk is engulfed within a bluish-white vortex, the arms
of which spin around the center at a constantly increasing
rate.
An oscillating HUM fills the laboratory. It increases in
PITCH and VOLUME as the vortex spins faster and faster.
Abruptly, the space around the disk collapses in on itself,
resulting in a deafening EXPLOSION. The space immediately
regains its shape and expands outward.
Riordan is knocked off his feet. He SLAMS into a wall beneath
the viewing platform.
Fissures appear in the thick steel walls. Fingernails-on-
chalk SOUNDS of failing steel.
RIORDAN
Oh, shit.
Riordan runs up the staircase to the platform. At the far end
of the laboratory, seawater begins to CASCADE into the
facility.
Erica and Maddie run toward him.
ERICA
What’s happen-
RIORDAN
(cuts in)
We gotta get out of here!
At the viewing platform entrance, Riordan looks back once
again.
The disk is gone.
In that instant, the disk support structure disappears in a
massive wall of greenish-black ocean water. The wall RUSHES
toward the viewing platform.
INT. MAG/LEV OFFSHORE TERMINUS - NIGHT
Riordan, carrying Maddie, exits the laboratory. Erica
follows.
The MP is half-conscious. Riordan grabs him by the collar.
RIORDAN
Move it, soldier!
INT. MAG/LEV RAIL CAR - NIGHT
Riordan, Erica, Maddie, and the MP, each belted into a seat.
AUTOMATED FEMALE VOICE (V.O)
Stand by for departure in five
seconds. Four seconds-
INT. MAG/LEV RAIL SYSTEM OFFSHORE TERMINUS - NIGHT
The terminus BUCKLES. Water SLAMS through the walls from all
sides as the train is propelled forward into the tunnel.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
60 -
Acceptance Under the Spotlight
EXT. MAG/LEV RAIL SYSTEM DEPOT - NIGHT
Riordan, Erica, Maddie, and the MP emerge from the mag/lev
train depot. A fleet of US Navy security patrol vehicles is
waiting. Lightbars flashing. Spotlights searching.
RIORDAN
(to Erica)
Wolf showed me what happened. To
Mojo. To all of them. Sayed Bridge
was an experiment, and we were the
test subjects. I....
Riordan can no longer keep his emotions bottled up.
ERICA
Tommy....
Erica wraps Riordan and Maddie in a fierce hug.
The lead security patrol vehicle’s spotlight swings onto
Riordan, Erica, and Maddie.
M.A. O’Brien exits the car.
O’BRIEN
Thomas Riordan?
RIORDAN
That’s me.
O’BRIEN
You’re in a lot of trouble.
It’s over. Riordan has hit the wall. He’s done.
RIORDAN
Yeah - I guess I am.
O’BRIEN
For what it’s worth, I found
someone who claims she can explain
whatever the hell it is that’s
going on here.
Into the spotlight: Larisa. No longer pale or shivering.
LARISA
Go ahead - admit it.
RIORDAN
Admit what?
LARISA
You’re freaked out.
Riordan smiles.
THE END