CUT TO. INT-BASEMENT: The Bartender, Sarah and company enter the large room via a wooden staircase. In the centre of this room are a series of tables upon which are computers. Connected to the computers are large cables connected to the ceiling. In the room are seven people, four men and three women.
The men are of varying ethinicities, as are the women. The man nearest to Sarah is an Asian man named CHAZ. The other men are STEVEN, MICHAEL, and NIKOLI. The woman nearest Sarah is called WENDY. The other two are MANDY and ISMANE. The Bartender looks to Sarah.
BARTENDER
I gotta go. Don't do anything too stupid.
ISMANE
Come on, you know us.
INT-BASEMENT: The Bartender looks dismayed as he ascends the staircase. Sarah looks to the group.
SARAH
So, what's new?
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington and Woo circle the Agents. The Agents keep eye contact with them. Woo gnashes his teeth. He stares down Johnson. Johnson smiles artificially. Hemmington takes aim. Brown takes aim. The Agents fire. Time briefly slows down as we see Woo and Hemmington dodge a couple of bullets. Time resumes. The Agents look a little confused.
BROWN
We require upgrades.
JOHNSON
Yes we do.
EXT-ROOFTOP: Woo moves towards Johnson. Hemmington opens fire on Brown.
Woo wields the swords wildly. Johnson carefully dodges the blades. Hemmington's gun attack is unrelenting, nevertheless, Brown dodges each round. However, one of Hemmington's rounds makes its way past Brown and into Johnson's shoulder. Johnson's expression quickly changes from smugness to suprise. He inspects the wound. He seems satisfied that he will be able to fight. Hemmington's guns run empty. Brown smiles. Hemmington and Brown begin to fight as Woo and Johnson begin their brawl.
CUT TO. INT-KITCHEN, BAR: Jones walks into the kitchen from outside. He scans the room briefly then continues through.
CUT TO. INT-BAR ROOM, NIGHT: Jones enters the room that Sarah and company had been through. The Bartender notices Jones and moves to him.
BARTENDER
Evening sir, can I help you?
JONES
Maybe. Did you, tonight, happen to see a small group of people move through here?
BARTENDER
I see a lot of people come through.
JONES
I should be more percise. Did you see two men and two women wearing dark clothing pass through here?
BARTENDER
I see a lot of people wearing a lot of different thing pass through here.
JONES
I was tracking them, one in particular. They entered here. Then we, I, lost track of them.
BARTENDER
I don't know what you're talking about sir.
JONES
Let's stop playing around. I know what you are and I know you are hiding them, therefore, in the spirit of good will I will forgo your destruction in exchange for information.
CUT TO. EXT-ROOFTOP, NIGHT: Woo and Hemmington are thrown against a wall. They make huge dents before they fall. They are both bruised and bleeding. Johnson and Brown, however, are faring far better. They stand over the men unfettered and ready for more. The Agents reach down and take the men by the throats. They lift them into the air. The Agents begin to squeeze. Just before they are killed, the Agents touch their earpieces.
CUT TO. CLOSE ON JONES' MOUTH: He is speaking.
JONES
They are irrelevant. We have aquisition of our primary target. You are required here.
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington and Woo are released. They fall to the ground coughing. Johnson and Brown turn around and head to the ladder. Hemmington and Woo gather their strength and move to the ledge. They look over the edge. A whole pricinct of police pull up in front of the building.
HEMMINGTON
Oh shit.
WOO
What will we do?
HEMMINGTON
Whatever we can.
WOO
What can we do?
HEMMINGTON
I wish I knew.
EXT-ROOFTOP: Hemmington and Woo walk out of frame.
CUT TO. INT-BAR ROOM, NIGHT: Johnson and Brown appear next to Jones. A whole SWAT team is standing behind them.
JONES
They are in the basement.
JOHNSON
Do we proceed?
JONES
Soon. We just need to receive word from The Source.
CUT TO. INT-BASEMENT, NIGHT: Sarah is seated at a terminal. She appears to be hacking away at some kind of digital defence systems. Her hands are moving faster than she can think. She comes to a screen that reads, "Execute? Y or N." She suddenly stops. She leans closer to the screen. In the screen she can see some of the pixels moving from top to bottom. She leans even closer. She sees what looks like to her as the code she once saw as a child. Cutter comes up behind her.
CUTTER
Having fun?
INT-BASEMENT: Sarah snaps out of her little trance. She looks to Cutter.
SARAH
Uh, yeah. I just gotta get past the firewall then I'm on the express elevator to Hell.
CUTTER
Cool. Well, have fun with that.
INT-BASEMENT: Sarah smiles as Cutter walk away. Sarah begins to look concerned. She cautiously logs off the computer.
CUT TO. INT-BAR ROOM, NIGHT: Jones puts his hand to his earpiece.
JONES
We have the go.
INT-BAR ROOM: The Agents draw their weapons, shiny black Walther P99's.
CUT TO. INT-BASEMENT: The group is stunned when the Agents burst through the door and come down the stairs. Cutter and Jada pull out guns of their own. Jones shoots Cutter in the head and Jada keeps her aim. The other Agents take aim.
JONES
Put down your weapon or end up like him.
INT-BASEMENT: Jada is in near tears, but she keeps her aim.
JONES
You mean as much to me as he did. I do, however, believe that your sense of self preservation will activate and you will lower your weapon out of fear of your death. For the last time, put it down.
INT-BASEMENT: Jada keeps her aim. Jones coldly shoots her in the head. Jada dies. Jones takes aim on the whole group.
JONES
Now, I would like to know where I may find a young woman you call Antigone.
CUT TO. EXT-ALLYWAY, NIGHT: Sarah enters the ally via a pair of celler doors. She gets to street level and begins to run. The phone rings. She gets her phone out and puts it to her ear.
SARAH
Wha...
HEMMINGTON (V.O)
Don't talk, just listen. Thi line is traceable so I'll be brief.
CUT TO. INT-BASEMENT: Jones puts his hand to his earpiece.
JONES
She's on the street.
INT-BASEMENT: The Agents leave. As they do, we see that everyone in the room has been shot in the head.
CUT TO. EXT-STREET, NIGHT: Sarah is walking at a brisk pace down the street.
SARAH
How the hell did I know those assholes would be down there?
HEMMINGTON (V.O)
We will find out soon enough. If you want to know the truth, you have to trust me. Across the street, Rikki's Play Pen, go in.
EXT-STREET: Sarah J-walks across the street. She sees the place that Hemmington told her about. She goes in. Camera makes a quick pan to The Agents. They have entered the street level. The Agents all put their hands to their earpieces when Sarah goes into Rikki's.
JONES
The signal has weakened.
JOHNSON
She must have entered another protected zone.
BROWN
Where is the nearest one.
EXT-STEET: Jones looks up at Rikki's. He smiles as he begins to
J-walk.
CUT TO. INT- RIKKI'S PLAY PEN, NIGHT: This is one of those dark, techno rave clubs. Strobes, pounding music, ectasy, dreadlocks, dancing, lazer lights. Anything and everything that one could imagine is in this club. Sarah gets to the booth when a large, burly man stops her.
MAN
Twenty bucks.
INT-CLUB: Sarah fumbles through her pockets looking for some money. She find a $100 dollar bill. She hands the man the money.
SARAH
Keep the change.
INT-CLUB: Sarah goes down a small flight of stairs to reach the floor. The place is built like a dingy basement to reflect the club goers. Though Sarah looks the part, she sticks out like a sore thumb as she mills throough the people. She puts the phone to her ear.
SARAH
Now what?
INT-CLUB: Sarah is spun around by a hand that grabs her shoulder. It is Agent Jones. Brown and Johnson are standing beside him.
JONES
Now you come with us Ms. Burns.
INT-CLUB: Sarah tries to fight them off but they are much to powerful and take her hits with impunity. They drag her away. As this is happening Sarah drops the phone.
CUT TO. EXT-STREET, NIGHT: Hemmington reacts to the phone being disconnected. Woo looks to him.
WOO
She hung up?
HEMMINGTON
Yeah.
EXT-STREET: Woo looks at the club.
WOO
I think I may know why.
EXT-STREET: Hemmington looks at the club. He sees Sarah being taken out to a car by the Agents.
HEMMINGTON
Fuckn' hell.
WOO
Don't worry sir. I wouldn't think they'd kill her.
HEMMINGTON
Why?
WOO
Because they don't know what you claim to know.
EXT-STREET: Hemmington looks to a telephone booth. He and Woo walk to it. Hemmington picks up.
CUT TO. INT-DARK ROOM: There is a single grey chair lit from an over head light source. Sarah is thrown into the chair. She squints to see her kidnappers. All she can see are the pale outlines of the Agents.
JONES
Please state your name for our records.
SARAH
Fuck off!
JONES
Fine. We'll get right to it then.
INT-DARK ROOM: A large portfolio is thown onto Sarah's lap.
SARAH
What the hell's this?
JONES
Its you. Your life. Play by play in paper. All your triumphs, trangressions and failures. Family history: Mother, dead of cancer. Father: unknown. Siblings: one brother, Timothey Burns. residence; in metro.
SARAH
Alright fine you've made your point. What the fuck do you want with me?
JONES
We also know that through the length of your adolescent years and the bulk of your adult years you have been involved with an underground of cyber-terrorists.
SARAH
I don't know what you're talking about.
JONES
No, wrong answer. You do know. You know exactly what we're talking about. Do not forget, we know you.
INT-DARK ROOM: Sarah sits silently. Jones moves into the light, close to her face. He takes off his glasses.
JONES
Seems that I've hit a nerve. We also know that you have been contacted by another member of this underground. A leader of another cell. His name is Hemmington. What you know of him is but a fragment of what we know. He's a killer Sarah. He killed an entire lobby full of people, women, chil...
SARAH
Shut the fuck up.
JONES
And all we want from you is information. Give us what we want and we will do for you what you need.
SARAH
What do I need?
JONES
A morally and legally clean slate.
INT-DARK ROOM: Sarah is pondering the situation. She looks up at Jones and whispers something inaudable. Jones leans in meanacingly. Sarah launches out and bites into his ear. Jones tears away, missing a chunk of flesh. Sarah spits out the flesh.
SARAH
And that's my final answer.
INT-DARK ROOM: Jones gets to his feet and regains his composure. Blood is spilling from his head on to his shirt and suit. He motions the other Agents to act. They pull Sarah out of her chair and on to the floor.
JONES
You won't be doing that again.
INT-DARK ROOM: The camera angles on Sarah. She is missing her mouth. Noises and shouts are muffled by the flesh now covering her mouth. Jones reaches into his pocket and pulls out a small, metallic probe. Johnson turns Sarah's head over so her left ear is facing Jones. He puts the probe in contact with her ear. The probe lights up and becomes like a small drill. The machine begins to drill into her ear when...
CUT TO. INT-OFFICE, DAY: Sarah wakes with a start. She puts her hand to her ear. Nothing. Chuck Ericson walks up to Sarah's cubicle. She is wearing the same garments as she did before. As is Chuck.
CHUCK
Hey Sarah.
INT-CUBICLE: Sarah looks around in a daze.
CHUCK
Sarah?
INT-CUBICLE: Sarah looks to Chuck.
SARAH
Oh, morning Chuck.
CHUCK
Actually its...
SARAH
...Evening.
CHUCK
Yeah.
SARAH
Deja Vu.
CHUCK
Ahhh.
INT-CUBICLE: A muffled phone rings. Chuck checks his pockets. he takes out his phone.
CHUCK
Hello?
INT-CUBICLE: Chuck looks a little confused. he hands Sarah the phone.
CHUCK
It's for you.
INT-CUBICLE: Sarah takes the phone.
SARAH
Hello?
HEMMINGTON(V.O)
Do what I say for your own good. Get out of that building right now and go home.
INT-CUBICLE: The line goes dead. Sarah gets up to leave.
SARAH
Have fun tonight Chuck.
CHUCK
Uh, thanks.
INT-OFFICE: Sarah leaves.
The men are of varying ethinicities, as are the women. The man nearest to Sarah is an Asian man named CHAZ. The other men are STEVEN, MICHAEL, and NIKOLI. The woman nearest Sarah is called WENDY. The other two are MANDY and ISMANE. The Bartender looks to Sarah.
BARTENDER
I gotta go. Don't do anything too stupid.
ISMANE
Come on, you know us.
INT-BASEMENT: The Bartender looks dismayed as he ascends the staircase. Sarah looks to the group.
SARAH
So, what's new?
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington and Woo circle the Agents. The Agents keep eye contact with them. Woo gnashes his teeth. He stares down Johnson. Johnson smiles artificially. Hemmington takes aim. Brown takes aim. The Agents fire. Time briefly slows down as we see Woo and Hemmington dodge a couple of bullets. Time resumes. The Agents look a little confused.
BROWN
We require upgrades.
JOHNSON
Yes we do.
EXT-ROOFTOP: Woo moves towards Johnson. Hemmington opens fire on Brown.
Woo wields the swords wildly. Johnson carefully dodges the blades. Hemmington's gun attack is unrelenting, nevertheless, Brown dodges each round. However, one of Hemmington's rounds makes its way past Brown and into Johnson's shoulder. Johnson's expression quickly changes from smugness to suprise. He inspects the wound. He seems satisfied that he will be able to fight. Hemmington's guns run empty. Brown smiles. Hemmington and Brown begin to fight as Woo and Johnson begin their brawl.
CUT TO. INT-KITCHEN, BAR: Jones walks into the kitchen from outside. He scans the room briefly then continues through.
CUT TO. INT-BAR ROOM, NIGHT: Jones enters the room that Sarah and company had been through. The Bartender notices Jones and moves to him.
BARTENDER
Evening sir, can I help you?
JONES
Maybe. Did you, tonight, happen to see a small group of people move through here?
BARTENDER
I see a lot of people come through.
JONES
I should be more percise. Did you see two men and two women wearing dark clothing pass through here?
BARTENDER
I see a lot of people wearing a lot of different thing pass through here.
JONES
I was tracking them, one in particular. They entered here. Then we, I, lost track of them.
BARTENDER
I don't know what you're talking about sir.
JONES
Let's stop playing around. I know what you are and I know you are hiding them, therefore, in the spirit of good will I will forgo your destruction in exchange for information.
CUT TO. EXT-ROOFTOP, NIGHT: Woo and Hemmington are thrown against a wall. They make huge dents before they fall. They are both bruised and bleeding. Johnson and Brown, however, are faring far better. They stand over the men unfettered and ready for more. The Agents reach down and take the men by the throats. They lift them into the air. The Agents begin to squeeze. Just before they are killed, the Agents touch their earpieces.
CUT TO. CLOSE ON JONES' MOUTH: He is speaking.
JONES
They are irrelevant. We have aquisition of our primary target. You are required here.
CUT TO. EXT-ROOFTOP, NIGHT: Hemmington and Woo are released. They fall to the ground coughing. Johnson and Brown turn around and head to the ladder. Hemmington and Woo gather their strength and move to the ledge. They look over the edge. A whole pricinct of police pull up in front of the building.
HEMMINGTON
Oh shit.
WOO
What will we do?
HEMMINGTON
Whatever we can.
WOO
What can we do?
HEMMINGTON
I wish I knew.
EXT-ROOFTOP: Hemmington and Woo walk out of frame.
CUT TO. INT-BAR ROOM, NIGHT: Johnson and Brown appear next to Jones. A whole SWAT team is standing behind them.
JONES
They are in the basement.
JOHNSON
Do we proceed?
JONES
Soon. We just need to receive word from The Source.
CUT TO. INT-BASEMENT, NIGHT: Sarah is seated at a terminal. She appears to be hacking away at some kind of digital defence systems. Her hands are moving faster than she can think. She comes to a screen that reads, "Execute? Y or N." She suddenly stops. She leans closer to the screen. In the screen she can see some of the pixels moving from top to bottom. She leans even closer. She sees what looks like to her as the code she once saw as a child. Cutter comes up behind her.
CUTTER
Having fun?
INT-BASEMENT: Sarah snaps out of her little trance. She looks to Cutter.
SARAH
Uh, yeah. I just gotta get past the firewall then I'm on the express elevator to Hell.
CUTTER
Cool. Well, have fun with that.
INT-BASEMENT: Sarah smiles as Cutter walk away. Sarah begins to look concerned. She cautiously logs off the computer.
CUT TO. INT-BAR ROOM, NIGHT: Jones puts his hand to his earpiece.
JONES
We have the go.
INT-BAR ROOM: The Agents draw their weapons, shiny black Walther P99's.
CUT TO. INT-BASEMENT: The group is stunned when the Agents burst through the door and come down the stairs. Cutter and Jada pull out guns of their own. Jones shoots Cutter in the head and Jada keeps her aim. The other Agents take aim.
JONES
Put down your weapon or end up like him.
INT-BASEMENT: Jada is in near tears, but she keeps her aim.
JONES
You mean as much to me as he did. I do, however, believe that your sense of self preservation will activate and you will lower your weapon out of fear of your death. For the last time, put it down.
INT-BASEMENT: Jada keeps her aim. Jones coldly shoots her in the head. Jada dies. Jones takes aim on the whole group.
JONES
Now, I would like to know where I may find a young woman you call Antigone.
CUT TO. EXT-ALLYWAY, NIGHT: Sarah enters the ally via a pair of celler doors. She gets to street level and begins to run. The phone rings. She gets her phone out and puts it to her ear.
SARAH
Wha...
HEMMINGTON (V.O)
Don't talk, just listen. Thi line is traceable so I'll be brief.
CUT TO. INT-BASEMENT: Jones puts his hand to his earpiece.
JONES
She's on the street.
INT-BASEMENT: The Agents leave. As they do, we see that everyone in the room has been shot in the head.
CUT TO. EXT-STREET, NIGHT: Sarah is walking at a brisk pace down the street.
SARAH
How the hell did I know those assholes would be down there?
HEMMINGTON (V.O)
We will find out soon enough. If you want to know the truth, you have to trust me. Across the street, Rikki's Play Pen, go in.
EXT-STREET: Sarah J-walks across the street. She sees the place that Hemmington told her about. She goes in. Camera makes a quick pan to The Agents. They have entered the street level. The Agents all put their hands to their earpieces when Sarah goes into Rikki's.
JONES
The signal has weakened.
JOHNSON
She must have entered another protected zone.
BROWN
Where is the nearest one.
EXT-STEET: Jones looks up at Rikki's. He smiles as he begins to
J-walk.
CUT TO. INT- RIKKI'S PLAY PEN, NIGHT: This is one of those dark, techno rave clubs. Strobes, pounding music, ectasy, dreadlocks, dancing, lazer lights. Anything and everything that one could imagine is in this club. Sarah gets to the booth when a large, burly man stops her.
MAN
Twenty bucks.
INT-CLUB: Sarah fumbles through her pockets looking for some money. She find a $100 dollar bill. She hands the man the money.
SARAH
Keep the change.
INT-CLUB: Sarah goes down a small flight of stairs to reach the floor. The place is built like a dingy basement to reflect the club goers. Though Sarah looks the part, she sticks out like a sore thumb as she mills throough the people. She puts the phone to her ear.
SARAH
Now what?
INT-CLUB: Sarah is spun around by a hand that grabs her shoulder. It is Agent Jones. Brown and Johnson are standing beside him.
JONES
Now you come with us Ms. Burns.
INT-CLUB: Sarah tries to fight them off but they are much to powerful and take her hits with impunity. They drag her away. As this is happening Sarah drops the phone.
CUT TO. EXT-STREET, NIGHT: Hemmington reacts to the phone being disconnected. Woo looks to him.
WOO
She hung up?
HEMMINGTON
Yeah.
EXT-STREET: Woo looks at the club.
WOO
I think I may know why.
EXT-STREET: Hemmington looks at the club. He sees Sarah being taken out to a car by the Agents.
HEMMINGTON
Fuckn' hell.
WOO
Don't worry sir. I wouldn't think they'd kill her.
HEMMINGTON
Why?
WOO
Because they don't know what you claim to know.
EXT-STREET: Hemmington looks to a telephone booth. He and Woo walk to it. Hemmington picks up.
CUT TO. INT-DARK ROOM: There is a single grey chair lit from an over head light source. Sarah is thrown into the chair. She squints to see her kidnappers. All she can see are the pale outlines of the Agents.
JONES
Please state your name for our records.
SARAH
Fuck off!
JONES
Fine. We'll get right to it then.
INT-DARK ROOM: A large portfolio is thown onto Sarah's lap.
SARAH
What the hell's this?
JONES
Its you. Your life. Play by play in paper. All your triumphs, trangressions and failures. Family history: Mother, dead of cancer. Father: unknown. Siblings: one brother, Timothey Burns. residence; in metro.
SARAH
Alright fine you've made your point. What the fuck do you want with me?
JONES
We also know that through the length of your adolescent years and the bulk of your adult years you have been involved with an underground of cyber-terrorists.
SARAH
I don't know what you're talking about.
JONES
No, wrong answer. You do know. You know exactly what we're talking about. Do not forget, we know you.
INT-DARK ROOM: Sarah sits silently. Jones moves into the light, close to her face. He takes off his glasses.
JONES
Seems that I've hit a nerve. We also know that you have been contacted by another member of this underground. A leader of another cell. His name is Hemmington. What you know of him is but a fragment of what we know. He's a killer Sarah. He killed an entire lobby full of people, women, chil...
SARAH
Shut the fuck up.
JONES
And all we want from you is information. Give us what we want and we will do for you what you need.
SARAH
What do I need?
JONES
A morally and legally clean slate.
INT-DARK ROOM: Sarah is pondering the situation. She looks up at Jones and whispers something inaudable. Jones leans in meanacingly. Sarah launches out and bites into his ear. Jones tears away, missing a chunk of flesh. Sarah spits out the flesh.
SARAH
And that's my final answer.
INT-DARK ROOM: Jones gets to his feet and regains his composure. Blood is spilling from his head on to his shirt and suit. He motions the other Agents to act. They pull Sarah out of her chair and on to the floor.
JONES
You won't be doing that again.
INT-DARK ROOM: The camera angles on Sarah. She is missing her mouth. Noises and shouts are muffled by the flesh now covering her mouth. Jones reaches into his pocket and pulls out a small, metallic probe. Johnson turns Sarah's head over so her left ear is facing Jones. He puts the probe in contact with her ear. The probe lights up and becomes like a small drill. The machine begins to drill into her ear when...
CUT TO. INT-OFFICE, DAY: Sarah wakes with a start. She puts her hand to her ear. Nothing. Chuck Ericson walks up to Sarah's cubicle. She is wearing the same garments as she did before. As is Chuck.
CHUCK
Hey Sarah.
INT-CUBICLE: Sarah looks around in a daze.
CHUCK
Sarah?
INT-CUBICLE: Sarah looks to Chuck.
SARAH
Oh, morning Chuck.
CHUCK
Actually its...
SARAH
...Evening.
CHUCK
Yeah.
SARAH
Deja Vu.
CHUCK
Ahhh.
INT-CUBICLE: A muffled phone rings. Chuck checks his pockets. he takes out his phone.
CHUCK
Hello?
INT-CUBICLE: Chuck looks a little confused. he hands Sarah the phone.
CHUCK
It's for you.
INT-CUBICLE: Sarah takes the phone.
SARAH
Hello?
HEMMINGTON(V.O)
Do what I say for your own good. Get out of that building right now and go home.
INT-CUBICLE: The line goes dead. Sarah gets up to leave.
SARAH
Have fun tonight Chuck.
CHUCK
Uh, thanks.
INT-OFFICE: Sarah leaves.
