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by Orbin Walcott (orbinwalcott@yahoo.com)

Rated:

Genre: Science Fiction/Fantasy User Review: NOT YET
RATED
Roxie Warner, the heroine of the saga that started in "Products of Destruction", has been hiding in Tokyo for eighteen months with her daughter. A chance encounter triggers a series of events that could lead to the end of mankind, and only she can stop it. Some secrets will be revealed and sacrifices will be made as Roxie fights to protect her future. This is the first part of the end of the Products series.

FADE IN:

INT. CORRIDORS - NIGHT

CLOSE ON a pair of bare feet as they run. We slowly pan up
to reveal ROXIE WARNER, mid-20s, desperately running through
an immaculate-looking corridor inside some sort of
scientific facility.

It's an all-too-familiar scenario as sweat drips down her
brow, except she is wearing WHITE GARB similar to the ones
Project Diamond subjects used to wear when being
experimented on. She's carrying a small CHILD in her arms.

Roxie tries a door then another and another, finding them
all to be locked. Then, the blaring sounds of ALARMS (OS)
going off stops her in her tracks. She looks around - fear
coming over her face now.

ROXIE
(thinking aloud)
No...!

The baby, an infant girl, begins crying. Roxie gently rocks
her to calm her down.

            ROXIE
      (softly)
Shh... don't worry - everything's
gonna be okay...
      (looks around)
... I hope...

She continues running, into:

INT. LOBBY

The lobby is large and empty, with 3 elevators on both
sides; on one we see a familiar LOGO for GRIFFIN
CORPORATION. Roxie calls for an elevator, anxiously waiting
when a SECURITY GUARD suddenly appears:

GUARD
Hey, stop right there!!

He reaches for his nightstick as she fights him off
one-handed, doing her best to protect the baby. It's a short
but tough fight that ends with Roxie taking the weapon and
knocking him out with it just before an elevator arrives.

The doors open up revealing THOMAS BERKELEY, mid-30s, inside
wearing a KEVLAR VEST; aiming an H&K G36 cautiously but
lowering it at the sight of:

BERKELEY
Roxie!
(she turns)
Come on!

She quickly gets inside just before the doors close back up.

INT. ELEVATOR - CONTINUOUS

Berkeley hits a button for the top floor. He takes out a
PISTOL and hands it to Roxie.

BERKELEY
Here take this.
(she does)
We need to find a way out before
those Ice Wing fuckers get to us.

INT. LOBBY - CONTINUOUS

A gang of armed commandos looking more like Black Ops
soldiers quickly run into the lobby. These are Griffin
Corporation's private military, ICE WING, led by a
no-nonsense Brit named JOHN HENDERSON, early-40s, sporting a
LARGE SCAR down his right eye. He looks down at the
unconscious Guard.

HENDERSON
Form into two-man teams and search
the entire facility. Make sure
those two do not leave here alive.
Go!

His mercenaries follow his orders and leave.

INT. ATRIUM

The elevator doors open up; Berkeley & Roxie step out,
aiming cautiously. As they stand in the middle of the empty
atrium, Roxie slowly looks around, finding that the facility
is deep under the ocean, and surrounded by all sorts of SEA
LIFE swimming around.

ROXIE
(thinking aloud)
What the hell...!

BERKELEY
Yeah, this is where he brought us,
Roxie. Trent Amherst never wanted
to help us; he was using us. He
was using you...
(re: child)
... For her.

ROXIE
How are we getting out of here?

He takes out what appears to be a small BLUEPRINT MAP of the
facility.

BERKELEY
(reading map)
According to this map, there's an
escape pod somewhere in this
facility. We just need to go a
couple more levels higher.

ROXIE
Okay, but will it work?

BERKELEY
(beat)
I don't know. But we can try --

A bullet suddenly WHIZZES BY and hits the reinforced glass
window that looks out to the ocean, barely cracking it.

Alerted, Berkeley & Roxie find Ice Wing mercs storming in; a
FIREFIGHT ensues:

BERKELEY
RUN!!

Our heroes exchange gunfire with their enemies as they run
down a nearby hallway.

They dart from cover to cover, alternating pop-shots as they
retreat down the hall. Halfway down, Berkeley kicks in a
door and Roxie follows him in as the Ice Wing mercs close
in.

INT. LABORATORY

Berkeley & Roxie run through; she can't help but slow down
and be horrified by the things she sees, such as FETUSES IN
JARS. Berkeley quickly grabs her:

BERKELEY
Come on!

They run further down and he kicks another door as they head
out.

INT. HALLWAY

Berkeley & Roxie emerge into a whitewashed hallway -
immaculate as you would expect in this kind of facility.
More mercs show up, firing at them as Berkeley shoots back.
They take cover behind a wall and he reloads while Roxie
shoots.

ROXIE
(shooting)
Where's this escape pod again?!

BERKELEY
(reloading)
Three floors up.

ROXIE
(notices)
Let's take the stairs.

He turns, finding the emergency stairs behind him.

BERKELEY
Go, I'll cover you.

She fires two more shots before retreating to the stairs. He
starts firing backs at the mercs, taking some out before
heading to the stairs as well.

INT. EMERGENCY STAIRWELL

Roxie is a flight ahead when Berkeley runs in, following her
behind.

INT. HALLWAY - SAME

Henderson and his small team now joins the group of mercs,
the group getting bigger as they head for the stairwell; all
of them reloading their guns.

INT. EMERGENCY STAIRWELL

Our heroes are a floor ahead when Henderson enters the
stairwell; he starts firing. Roxie & Berkeley duck under the
gunfire - the child continues crying as Berkeley fires back,
the bullets hitting metal and concrete.

BERKELEY
(to Roxie)
GO, GO, GO!

Roxie makes a mad dash up to the next floor, then
SHOULDER-CHARGES her way through the nearest door. Berkeley,
exchanging gunfire, quickly follows behind her.

HENDERSON
Hurry, we can't let them get
away!!

INT. LOADING BAY

The loading dock looks very aquatic and futuristic. Off to
the side are loading bays and submarine-like vehicles. Not
too far off are the tube-like ESCAPE PODS with CONTROL
PANELS a few feet away.

Roxie and Berkeley rush in. They look around.

ROXIE
What now?

BERKELEY
The pods are over there. Come on,
get the kid inside one then help
me prep it.

They head over to one of the pods. Berkeley hits a button on
the wall next to it's hatch door, opening it. The inside of
the escape pod has small pressurized windows, and looks
padded and comfortable enough for at least a few hours.
Roxie climbs inside and places the child down on the padded
seat; as she does so, Berkeley suddenly seals the hatch. She
quickly reacts to this:

ROXIE
(barely audible)
Tom, what are you doing?!

BERKELEY
The right thing.

ROXIE
No, I'm not leaving without you!

BERKELEY
You have to...

ROXIE
No, not a chance -- !

BERKELEY
Look at me, Roxie - I'm a
mercenary; there's so many people
out there who all want me dead.
I'll only get in your way so
(MORE)

BERKELEY (cont'd)
you're better off without me.

ROXIE
(tearing up)
But... I can't do this without
you!

BERKELEY
You're gonna have to try.

She watches as he heads over to a control panel; FOOTSTEPS
(OS) can be heard in the distance as Ice Wing troops quickly
make their approach. Berkeley grabs the INTERCOM MIC on the
control panel, activating it. He looks at Roxie.

INT. ESCAPE POD - SAME

Roxie looks back at Berkeley with tears beginning to run
down her face, hearing his voice over the PA SYSTEM.

BERKELEY
(over PA system)
Just promise me something, kid...

ROXIE
(voice breaking)
Anything...

INT. LOADING BAY

The footsteps grow louder in the b.g. as they stare at each
other.

BERKELEY (cont'd)
(over PA system)
Don't let them win!

He hits a RED BUTTON, sending her off just as Henderson and
Icewing make their way into the loading dock.

INT. ESCAPE POD - SAME

Roxie watches the action unfold through the reinforced glass
panes surrounding the loading bay. Berkeley takes cover and
exchanges fire with his enemies; he takes out just a couple
of them before running out of ammo. Henderson takes notice
and signals for his men to stop firing.

INT. LOADING BAY

HENDERSON
Come on out, Berkeley, don't be
stupid!

Berkeley hesitates at first but obliges. Henderson slowly
approaches Berkeley, stopping a few feet away from him.

HENDERSON
Where's the girl!?

BERKELEY
She's already gone!

HENDERSON
You shouldn't have done that,
Berkeley! You don't know what
you're getting yourself into!

BERKELEY
I know exactly what we got into!
You people tricked us! Griffin
Corp. didn't want to help us -
they were using us!

HENDERSON
We gave you food, sanctuary...!

BERKELEY
Is that what Amherst has you
telling all his guinea pigs?! I've
had enough of the bullshit,
Henderson!!

HENDERSON
So what are you going to do then,
hmm? We have you outnumbered.
You'll never make it out of here
alive.

BERKELEY
(smirking)
That's the plan...

Berkeley tosses his weapon down and unzips the kevlar vest,
revealing a C4 VEST under it. He holds up the DETONATOR for
them to see:

BERKELEY
I'll see you in hell!

And with those final words, Berkeley detonates the
explosives, killing himself and destroying a good portion of
the loading bay.

INT. ESCAPE POD

The pod is out of the blast radius as Roxie watches in
horror:

ROXIE
(tearing up)
NOOOOO!!!!! BERKELEY!!!!

She falls to the floor, crying while the child begins crying
as well.

INT. LOADING BAY - SAME

MORE ALARMS SOUND OFF (OS), the lights are red and there is
DEBRIS everywhere now. Berkeley's body is no more. Some
Icewing troops have been killed while some have been knocked
back by the blast. Among the unconscious is Henderson; one
of his fingers slowly begins to TWITCH.

INT. ESCAPE POD

Roxie continues crying on the floor. Now she is completely
helpless.

MONTAGE

A quick montage, recapping some events, accompanies a
VOICE-OVER:

ROXIE (VO)
My name is Roxie Warner, and I've
just spent the last three months
in captivity.

1) Berkeley & Roxie meet TRENT AMHERST and HENDERSON in
Paris at the climax of "PRODUCTS OF LAMENTATION". They're
soon forced onto one of 2 helicopters, by gunpoint.

ROXIE (VO)
Berkeley and I met a man who
claimed he would help us. He lied.

2) The sun is at it's highest when the helicopter lands on
an OIL RIG in the middle of an ocean.

ROXIE (VO)
His men held us at gun point,
drugged us, then took us to some
place in the middle of the ocean.

3) Roxie & Berkeley are injected with SYRINGES that soon
incapacitate them. As they slip into unconsciousness, they
barely hear Henderson say the word "Atlantis".

ROXIE (VO)
"Atlantis" is what he called it,
named after the Greek city that
sank underwater.

4) Icewing troops drag our heroes out of a large elevator
then through the hallways of the same underwater facility we
were just in. Roxie & Berkeley begin to regain consciousness
as they pass by numerous GLASS CELLS filled with people of
varying ages, mostly young.

ROXIE (VO)
It made sense; no one was aware of
this place, and those who were
wished they weren't.

5) Roxie & Berkeley are stripped of their clothes, and are
thoroughly cleansed by SCIENTISTS IN HAZMAT SUITS who hose
them down and scrub them clean before being scanned with
electronic devices. Roxie's scan sets off a BEEP that alarms
the scientists.

ROXIE (VO)
Griffin Corp. stripped us of
everything - including our dignity
- and treated us like animals.

6) Roxie and Berkeley, now dressed in white garb, resist as
they are dragged away from each other, and towards different
rooms. At one point, Berkeley manages to break free from his
captors but is quickly knocked out by Henderson.

ROXIE (VO)
Some people were branded, and most
were broken

7) Amherst and a couple of IceWing mercs are standing
outside a laboratory, watching a contemplative Roxie sitting
down and surrounded by more mercs when a scientist exits the
lab. The scientist confirms that Roxie is pregnant; Amherst
accepts the news with indifference.

ROXIE (VO)
Then they found out that I was
pregnant, and I became special to
them... for the wrong reasons.

BACK TO SCENE

10.

Roxie begins to regain her composure as she sits up next to
the child, putting both arms around her and holding her
close. The escape pod continues rising through the water;
the two girls watch the various sea life that pass by.

EXT. WHARF - NIGHT

It's a late night at a nearby closed wharf in an unknown
city. There is a CARGO SHIP docked at the harbor and
numerous CONTAINERS strewn about. There are also various
warehouses and small buildings in several places throughout
the wharf.

With the moonlight providing the backdrop, we're able to see
the shadowy figure of a man RUNNING AND JUMPING up and over
the various obstacles he encounters with the grace of a
Parkour Runner, maintaining his momentum as he goes.

The impressive display of athleticism lasts for quite a
while until the man makes it to the edge of the pier,
stopping to catch his breath. His name is KEV CLARK,
early-30s, African-American and built with an impressive
physique. He takes a quick glance around before sitting down
at the edge.

Kev looks down and finds a few PEBBLES at his side; he picks
them up and starts chucking them into the water. Three
pebbles later and the water suddenly starts BUBBLING,
creating huge ripples. Kev instinctively stands up, confused
when the escape pod suddenly surfaces. Moments later, the
hatch door slowly opens as if this is Close Encounters;
Roxie peeks her head out, seeing Kev:

ROXIE
Who are you...?

KEV
Who the hell are YOU?!

ROXIE
My-my name is Roxie. Roxie
Warner...

KEV
Kev Clark.

She notices a FROG TATTOO on the inside of his forearm,
similar to her own.

ROXIE
That tattoo... are you a F.R.O.G.?

11.

KEV
(suspicious)
What do you know about that?

ROXIE
(shows her tattoo)
Everything. I led the Metro City
chapter. Where am I now?

KEV
Very far from home. Tokyo.

Roxie is shocked to hear this.

EXT. JAPANESE GHETTOS - MOMENTS LATER

Kev is leading Roxie through various ghettos and rooftops as
she carries the child in her arms while trying to keep up.
They slow down to a stop on one rooftop, allowing her to
catch her breath. He notices her winded.

KEV
You sure you're a F.R.O.G.? You
seem out of it.

ROXIE
(panting)
It's been a while, okay? Just...
just give me a minute.

KEV
What's the deal with the kid
anyway? You steal it?

ROXIE
What? No! She's my daughter.
(beat)
Listen, I know we just met and
all, but we need a place to crash.
Do you mind?

KEV
What's in it for me?

ROXIE
What do you want?

KEV
Well, some answers would be a
start. But I'm sure we'll think of
something along the way. Follow
me.

12.

They continue running.

EXT. ABANDONED BUILDING, ROOFTOP - LATER

Kev and Roxie finally arrive at an abandoned building; he
takes out a key from his pocket, looking around before
opening a nearby door. They enter.

INT. KEV'S LOFT

Kev turns on a nearby GENERATOR; it RUMBLES to life before
he flicks on a light switch.

The interior of this guy's two-bedroom loft is surprisingly
clean and organized given the kind of person he seems. It's
not an immaculate place by all means but he's definitely
taken steps to make it a home, fully furnished and
everything.

KEV
(sarcastically)
Sorry for the mess. I wasn't
expecting company.

ROXIE
Heh, funny.

KEV
I would've cleaned up if I thought
I'd be bringing someone over...

ROXIE
It's not a problem. I used to live
in the sewers so this is way
better. Although its pretty cozy
for a place that seems abandoned.

KEV
Yeah, thanks.

She places the baby on the couch then starts walking around,
getting to know the place.

KEV
Ain't you forgetting something?
(she turns)
The deal was you give me answers,
then I give you a place to stay.
So start talking...

            ROXIE
      (beat; sighs)
Fine. Like I said, my name is
Roxie and I led the Metro City
            (MORE)

13.

ROXIE (cont'd)
F.R.O.G.S. --

KEV
I don't really care about all
that. I wanna know why you came up
from the Pacific ocean like a
fuckin' Kaiju!

ROXIE
I was being held captive in a
secret underwater facility.

KEV
Why?

ROXIE
I can't tell you. I mean I don't
even know you.

KEV
You can either try or leave.

ROXIE
(beat)
I'm a Product...

KEV
'The fuck does that mean...?

ROXIE
I'm... superhuman.

KEV
Bullshit!

ROXIE
It's true. I don't know how else
to put it.

KEV
So what, you can fly or
something?!

ROXIE
Not quite. But I have heightened
agility and speed. And a healing
factor.

14.

KEV
(sarcastically)
Yeah, okay. I think you might've
caught the bends on the way up to
the surface.

ROXIE
Okay, you don't believe me? Go
grab a knife.

While Kev goes to pick up a KNIFE from the kitchen counter,
Roxie sets the child down on a nearby table. He comes back;
she holds her arms out:

ROXIE
Stab me.

Kev's confused but she looks him in the eye, confidently.

ROXIE
(assuringly)
Stab me.

He looks down at her midsection while she looks up, unsure
this will work. Kev takes a deep breath before thrusting the
blade into her stomach, leaving it in. Roxie lets out a
short SCREAM -- scaring the child into crying -- as she
stumbles backwards and falls.

Roxie takes LABORED BREATHS as she pulls the knife out,
clutching the wound afterwards. She slowly gets back to her
feet, slowly breathing normally moments later. She uncovers
the wound -- it starts to heal perfectly before his eyes.
Kev is shocked.

KEV
No-fucking-way!

ROXIE
(picks up child)
I told you.

KEV
That's crazy...!

ROXIE
This is my life.

KEV
Are there more people like you?

15.

ROXIE
A whole lot more. My boyfriend was
one of them, but he's dead now.
But, we don't all have the same
abilities.

KEV
Still, you could make money off
that...

ROXIE
No, Kev, you don't get it -- this
is like a curse to us. There are
people out there trying to kill us
for this. I have to lay low no
matter what!

KEV
(beat)
Alright, fine, stay here for as
long as you need. But I'm not
babysitting!

ROXIE
That's fine. Thank you.

KEV
(re: child)
What's her name anyway?

            ROXIE
      (smiles
       half-heartedly)
Her name's Charlene. Charlene
Warner.

            KEV
      (nods approvingly)
Nice name.
      (pointing out)
Okay, well, you two can take that
room over there. I'll see you in
the morning.

Roxie carries Charlene into her bedroom as Kev turns out the
lights before heading into his own room.

EXT. STREETS OF TOKYO - DAY

SUPER - 18 MONTHS LATER

16.

It's a clear summer afternoon. We get a BIRD'S-EYE VIEW of
the city streets, specifically a pair of figures running
across the rooftops of various buildings. Dashing and
vaulting like acrobats on a mission.

EXT. ROOFTOPS

The figures are Roxie and CHARLENE WARNER, 18, somehow a
young adult already, and a spitting image of her mother.

Both women carrying MESSENGER BAGS, the two are playfully
racing across the rooftops - each one gaining the lead
before dropping it to the other.

CHARLENE
(in the lead)
C'mon, I know you can do better
than that!

ROXIE
(smiling)
I'll have you know I broke the
course record back home by thirty
seconds!

Roxie puts a little pep in her step, gaining on Charlene.
She dashes over various objects and obstacles, taking the
lead back:

CHARLENE
(noticing)
Hey, that's cheating!

ROXIE
(smiling)
I'm a F.R.O.G., remember?

Charlene smiles at this, powering through the last leg of
the race -- jumping and flipping across gaps; grinding on
rails and sliding under obstacles.

The two are now neck-and-neck, glancing at each other;
enjoying the competition. They reach their destination, a
small building in the shopping district, ending the race in
a tie.

ROXIE/CHARLENE
I win!

CHARLENE
No, I win.

17.

ROXIE
C'mon, I clearly had you beat back
there --

CHARLENE
Yeah, only 'cause you were
cheating!

ROXIE
(smiling)
Whatever, you know I won.

CHARLENE
(smiling)
Why can't you just admit it, Mom?
You're not as fast as you used to
be.

ROXIE
(chuckling)
What! Honey, I'm only twenty-four!
Don't pull that old lady shit on
me.

Charlene laughs.

CHARLENE
Did you and Dad used to race like
this?

ROXIE
(beat)
No. We ran a different kind of
race.

CHARLENE
Oh... what did you do?

ROXIE
(evading)
Let's go, we have a big list
today. C'mon.

Charlene follows Roxie as she heads for the nearby fire
escape.

EXT. AMEYOKO STREET MARKET - MINUTES LATER

It's a typical day in the busy street market as the place is
loud and lively.

Roxie is checking out the produce, meats and seafoods from
various vendors, politely dismissing some offers while

18.

Charlene walks beside her. Roxie is trying to keep busy but
Charlene seems as if she's not done talking.

CHARLENE
We can't avoid it forever...

ROXIE
(realizing)
Huh? What're you talking about?

CHARLENE
My father. Eventually, we're gonna
have to talk about him.

ROXIE
Charlene, what is there to talk
about? He's dead. Period. Now,
please, let's move on.

CHARLENE
How did he die -- ?

ROXIE
(annoyed)
I don't know!

CHARLENE
Then, how are you sure?

ROXIE
Because, if he wasn't then he'd be
here with us -- that's how!
Charlie would never abandon us...

CHARLENE
His name was Charlie...?

ROXIE
Yes.

They stop in front of a fruit stand. Roxie smiles at the
vendor, an OLD WOMAN, and pays her for two MELONS she's just
picked out. They continue on.

CHARLENE
Uh-huh, what else?

ROXIE
He was my age, tall, well-built...
honestly, I don't really know that
much about him. We'd only known
each other five days.

19.

CHARLENE
Five days?! Ew, Mom, that's gross!

ROXIE
(chuckling)
Look, it's complicated, okay? Not
exactly what you're thinking.

They stop by a meat vendor:

CHARLENE
So, what happened to Charlie?

ROXIE
He died...

CHARLENE
How?

ROXIE
I dunno.

CHARLENE
Then, how are you so sure -- ?

            ROXIE
      (annoyed)
Look, Charlene, just...!
      (regains composure)
... Just leave it alone, okay?
It's painful enough just thinking
about him.

CHARLENE
You loved him, didn't you?

ROXIE
(beat)
Yes. And he never got to know it.

Roxie then notices something in the distance behind
Charlene.

ROXIE'S POV

Further down the market-street, Roxie sees a
casually-dressed TRENT AMHERST, early-to-mid-50's, with an
equally-dressed Henderson, checking out the products being
sold by one of the vendors. Oblivious to the girls'
presence.

20.

BACK TO SCENE

This discovery has Roxie a little spooked now.

ROXIE
(nervous)
Hey, uh, you hungry? Let's get
some food.

Roxie grabs Charlene by the arm as she starts walking back
in the direction from where they came, pacing almost into a
jog:

CHARLENE
Mom, I'm not hungry. Are you okay?

ROXIE
(looking around)
I'm-I'm fine. You thirsty? I am --
let's go!

We've never seen Roxie this nervous as she begins jogging
towards the end of the Street Market, away from Amherst,
while dragging a confused Charlene along.

Roxie is starting to cause a scene as she bumps into people
on her way out, with some of them reacting in protest.

While Amherst & Henderson check out the expensive products
on their end, it doesn't take long for the commotion on the
opposite end to catch Henderson's attention as he looks up:

HENDERSON'S POV

A cautious Roxie suddenly looks back at him just as
Henderson looks her way.

BACK TO SCENE

Henderson is dumbfounded by his find.

HENDERSON
(thinking aloud)
I don't fucking believe it...!

Roxie has been caught now; a look of horror comes over her
as Charlene looks back in confusion:

ROXIE
(to herself)
Oh shit! Charlene, run!!

21.

Roxie yanks her along as they quickly start sprinting.
Henderson quickly puts a finger to an earpiece.

HENDERSON
(on earpiece)
Everyone! There's two American
girls fleeing the market on foot;
both carrying messenger bags.
Detain them quickly. I repeat,
detain them quickly -- that is an
order!

AMHERST
(noticing)
What's the matter?

Henderson turns and gestures for two Icewing guards to come
over quickly, both casually dressed.

HENDERSON
We need to cut this trip short.
(to guards)
Escort Amherst to the car. Hurry!

AMHERST
What the hell is going on,
Henderson?!

HENDERSON
I have a visual on Roxie Warner...

Henderson sends him off with the two guards before chasing
after the girls.

Elsewhere, Roxie & Charlene continue running. It isn't long
until a pair of mercenaries cut off their path near the edge
of the market.

Roxie quickly grabs an item from a nearby vendor --
upsetting that vendor when she hurls it at the mercenaries.
The mercs duck under as Roxie quickly detours into an alley,
keeping Charlene close by.

INT. ALLEYWAY

The girls run into an alleyway behind a restaurant.

CHARLENE
Mom, what's the matter -- !

ROXIE
-- Just stick close and keep
running!!

22.

She suddenly runs down a young short-order cook who emerges
from a service entrance while carrying trash.

They continue running as 3 more mercs make their way into
the alley behind them. Soon the girls exit the alley from
the opposite end.

EXT. STREET

Roxie & Charlene continue running; they're about to cross
the street, with Charlene ahead, when Roxie is suddenly
tackled down by Henderson like a bat out of hell and in the
middle of traffic, stopping it. Charlene takes notice:

CHARLENE
(stopping)
Mom!

The other 5 mercenaries arrive at the scene. Nearby
civilians take notice as Henderson grabs a handful of
Roxie's shirt, and lifts her to her feet like a rag doll --
never letting her out of his grasp.

Charlene helplessly watches her mother as the other mercs
surround her, all of them with guns drawn. A concerned
citizen makes a call for help on her cellphone.

HENDERSON
(grinning)
Well, well, Roxie Warner. Fancy
meeting you here.

ROXIE
(struggling)
What do you want, Henderson?!

HENDERSON
My curiosity satisfied. What are
you doing here in Tokyo?

ROXIE
(smart-aleck)
I came for the Manga. You?

HENDERSON
(chuckles)
Oh, I've missed you, Roxie. Care
to come with us and find out?

ROXIE
(struggling)
I don't think so.

23.

She struggles to get free but he doesn't even budge.

CHARLENE
(to mercs)
Who are you guys?! What do you
want from us?!

The mercs don't react, keeping their guns trained on
Charlene.

HENDERSON
Who's your friend, Roxie -- ?

ROXIE
None of your fucking business!

CHARLENE
Mom, what's going on here!?

HENDERSON
"Mom"?
(realizing)
You're joking...!

ROXIE
You lay a finger on her,
Henderson, and I swear to God I'll
kill you!

HENDERSON
Please, don't make empty threats.

He tosses her aside and walks over to Charlene, who's too
nervous to look him in the eye.

HENDERSON
Hello, Love. What's your name?

ROXIE
(to Charlene)
Don't tell him anything, Baby!

            HENDERSON
      (caressing her
       cheek)
Don't worry, Sweetheart -- I won't
bite.

He gently makes her face him:

CHARLENE
Ch-Charlene...

24.

HENDERSON
Charlene. That's a pretty name.
I'm Henderson.

CHARLENE
Why were you chasing us?

HENDERSON
(grinning)
Just a little misunderstanding, is
all. Your mother and I are old
friends. I'm more like... an uncle
to you, really.

CHARLENE
But you have guys pointing guns at
me...

HENDERSON
I apologize if they've scared you.

He gestures for his men to stand down.

HENDERSON
See? We're not so bad.

Suddenly, a pair of PATROL CARS arrive on the scene with
their sirens blaring, and two pairs of TOKYO POLICE OFFICERS
step out with their pistols drawn, aiming at Henderson and
his men. The mercs instinctively raise their guns back up.

            OFFICER #1
      (japanese;
       subtitled)
FREEZE!!

            OFFICER #2
      (japanese;
       subtitled)
Put down your weapons, and step
away from the girls!!

HENDERSON
Okay, okay!
(to mercs)
Do it, boys.

The mercs slowly put their guns on the ground then slowly
raise their hands up.

25.

            OFFICER #1
      (japanese;
       subtitled)
Are you okay, Miss?

            ROXIE
      (japanese;
       subtitled)
These men tried to rob us for our
money -- please help!

            OFFICER #1
      (japanese;
       subtitled)
You and your friend go home. We'll
handle it.

Roxie slowly walks over to Charlene, and grabs her by the
hand. Locking eyes with Henderson the whole way.

HENDERSON
(beat; softly)
We will see each other soon.

ROXIE
I won't hold my breath, asshole!

The girls run off as the officers surround the mercs for the
arrest. Henderson watches Roxie leave as he's cuffed.

EXT. SLUMS - NIGHT

We're outside a large tenement building. The area is
crowded; it's late enough for some nearby businesses to
close but still early enough for some children to still play
in the streets. Their curiosity is aroused when they see a
MOTORCYCLE pull up in front of the building -- most notably
the mysterious rider on it.

The Rider gets off the bike, leaving his helmet on as he
heads into the building.

INT. RUN-DOWN APARTMENT - MINUTES LATER

The inside of the apartment looks worse than the scenario we
saw outside (if that is possible). We're inside of a large
dilapidated gang apartment with a small drug lab off to the
side. There are a little over a dozen people inside the
place -- more Japanese men than women -- all aged in their
20s.

26.

We're in the middle of a brawl, however it soon becomes
obvious how one-sided the fight is. The men are all trying
to take a shot at The Rider with whatever item they may have
in their hand, but he makes mincemeat of his enemies.

In the far back of the living room, sitting at a desk, is
HIROSHI, late-20s, an overweight Yakuza member watching the
fight in shock. The fight ends as quickly as when we started
watching it when The Rider eventually makes his way over to
Hiroshi; a frightened Hiroshi tries reach over for a gun but
The Rider disarms him in one lightning-quick move. He
smashes his head on the desk:

HIROSHI
(groaning)
Agh! I told you -- I had no idea
of a set-up! 'Had nothing to do
with me!

He gets his head smashed again.

HIROSHI (cont'd)
(groaning)
C'mon, I told you everything I
know!

He gets his head smashed twice more, this time drawing blood
from his nose.

            HIROSHI
      (groaning)
Okay! Okay! I'll tell you what you
want to know!
      (panting; beat)
My boys have seen some of their
workers spending time at a karaoke
bar somewhere in Shinjuku. I don't
know the name.

The Rider punches him in the face.

            HIROSHI (cont'd)
      (groaning;
       frustrated)
Okay! The place is called "Golden
Pipes" in Shinjuku Golden Gai;
it's owned by an American woman
named Lana Miller. The workers
like to unwind there before
heading home.
      (Rider grabs him)
I swear -- it's all I know!

27.

The Rider has no choice but to believe him as he slowly lets
go of his shirt. He starts making his way out of the room.

HIROSHI
I hope you find what you're
looking for, Gaijin, because you
will be dead soon. I promise you
that!

The Rider continues walking away, unaffected by the threat.
He leaves the apartment.

INT. KEV'S LOFT, LIVING ROOM

The living room is empty save for Charlene sitting alone on
the couch, playing a HANDHELD VIDEO GAME SYSTEM. She seems
well preoccupied with the device, not even noticing Kev
entering the loft through the front door.

KEV
(putting keys away)
Hey, Charlene.

CHARLENE
(never looks up)
Hi, Kev.

KEV
You guys get the food?

CHARLENE
Mmm-hmm.

KEV
Where's your mom?

CHARLENE
On the roof.

He looks towards the kitchen -- it's clean as if nothing has
been made yet. A curious look comes over Kev's face. He
heads towards a large open window where a FIRE ESCAPE is
located.

EXT. KEV'S LOFT, ROOFTOP

Roxie is sitting alone, contemplative and staring out into
the city. It's a beautiful sight of the skyline. We get the
sense that the earlier events of the days has take an
emotional toll on her when Kev arrives to join her.

KEV
Mind if I join you?

28.

She turns, acknowledging his presence as she turns back to
the city. He sits next to her.

ROXIE
How'd you know I was here?

KEV
Where else would you be? You okay?

ROXIE
I don't know... just trying to
keep from freaking out...

KEV
Then, talk to me.

ROXIE
(beat)
Remember when you found me
eighteen months ago?

KEV
Yeah, you and Char were out in the
harbor.

ROXIE
'I ever tell you why?

KEV
Something about experiments, and
people trying to use you for your
abilities.

ROXIE
One of the people involved was a
merc named John Henderson. The
company CEO's top bodyguard. He
saw us today...

KEV
You serious?

ROXIE
(nodding)
Kev, I've never been so afraid to
see someone in my life.

KEV
Why is that?

ROXIE
He's supposed to be dead. My
friend Berkeley blew up part of
the facility, sacrificing himself
(MORE)

29.

ROXIE (cont'd)
so that Charlene and I could
escape. Henderson was buried under
at twenty or thirty feet of
debris, not to mention the room
was also flooding. How is he still
alive!?

KEV
Yeah, that's crazy...!

INT. KEV'S LOFT, LIVING ROOM - SAME

Charlene is still playing her video game when she receives a
text message on her CELLPHONE. She checks it.

INSERT - CELLPHONE SCREEN

The message is from a girl named Minka. It reads: "Hey,
feeling bored. Shinjuku 2nite?

Charlene responds: "Sure, b there in 1 hr."

BACK TO SCENE

She puts the game away, then puts her shoes on and leaves
the loft.

EXT. KEV'S LOFT, ROOFTOP

Kev & Roxie are still sitting on the roof, carrying on their
conversation:

KEV
So, what're you gonna do?

ROXIE
We have to leave Japan. Now that
Henderson knows I'm here, so does
Amherst, and Charlene and I won't
be safe.

KEV
Running away isn't the answer,
Rox. Stay here -- I can protect
you both.

ROXIE
No, you can't, Kev. That's my
point; these guys are brutal and
they take no prisoners. Trust me,
you're better off without us. I'm
sorry.

30.

KEV
So, that's it? You're just gonna
let some asshole make you throw in
the towel -- ?!

ROXIE
I don't have a choice!

KEV
There's always a choice!

He slowly reaches for her hand and takes it in his. She
looks over, finding his gaze just as he leans in for a soft
kiss, it lingers for a moment until:

ROXIE
(softly)
I don't want this to be any harder
than it is...

KEV
It doesn't have to be.

ROXIE
It's just, you mean a lot to me,
Kev. And to Charlene. I've lost
too many good people... I'd die if
I lost you too.

KEV
Hey...
(hugs her)
... you're never gonna lose me.
Whoever these these guys are,
they're not taking my girls away.

She leans into him, feeling the comfort she was looking for.

INT. KEV'S LOFT, LIVING ROOM - MINUTES LATER

Roxie gets back into the loft through the open window.

            ROXIE
      (calling out)
Char, you ready to eat?
      (no answer)
Char? Charlene!

Kev enters moments later.

ROXIE
Kev, where's Charlene?

31.

KEV
I dunno. She was on the couch when
I got in. Maybe her room?

Roxie quickly checks her bedroom, then the bathroom --
nothing. She's starting to look distressed now.

            ROXIE
Nope, neither one.
      (realizing)
Wait, is it Friday?
      (Kev nods)
Fuck -- she's in Shinjuku! We have
to go find her, fast!

She quickly grabs a jacket before they rush out the door.

EXT. STREETS OF SHINJUKU - LATER

We see The Rider cruising through traffic, trying to find
the karaoke bar.

EXT. SHINJUKU DISTRICT, ALLEYWAY

At the edge of the alley, smoking a cigarette, MINKA,
late-teens/early-20s. Minka is a pretty young Eurasian girl
who give the impression of a girl living life in the fast
lane.

While not exactly a chain-smoker, Minka gives us the
impression that she may be on her third cigarette as she
looks around, waiting anxiously for someone.

Further inside the alley, Charlene makes her way down a
ladder and jumps down from the final steps. She jogs over to
Minka:

            CHARLENE
      (trying to scare
       her)
Hey!

            MINKA
      (startled)
Gah!
      (hits her shoulder)
Christ, Char, you almost gave me a
freakin' heart attack!

CHARLENE
(chuckles)
Sorry, Minka.

32.

MINKA
What is it with you and rooftops
anyway? Why can't you just take
the train like a normal person!

CHARLENE
I like the roofs.

MINKA
Yeah, well, at least you're able
to get here quick that way.
(realizing)
Hey, how is that even possible
anyway? I swear I just texted you
no more than ten minutes ago!

CHARLENE
Does it matter?

MINKA
When you live across town, I'd say
yeah!

Charlene simply shrugs, wanting the questions to stop. Minka
just chuckles in response.

MINKA
(smiling)
Girl, let's go.

EXT. GOLDEN PIPES - ESTABLISH - LATER

Its a modest dive in the middle of Shinjuku. Not the biggest
place but seemingly the liveliest among the buildings on its
street. We see some people outside either talking on their
cellphones, having a smoke break, or just conversing with
friends.

EXT. GOLDEN PIPES, SIDE ALLEY

The Rider, coming in from behind the building, pulls into
the alley and parks his bike. As if on cue, a male worker --
probably a bartender -- steps out through a service
entrance, ending his shift, as The Rider quickly makes his
way in behind. The worker never notices.

INT. GOLDEN PIPES, BACK ROOM

The room, a lounge area for employees, is dim-lit. There are
small lockers, a coat closet, and a nearby table and chairs.
A girl is putting her things away in a locker when she spots
the Rider.

33.

            BAR GIRL
      (Japanese;
       subtitled)
Hey. Only employees are allowed
back here.

            THE RIDER
      (Japanese;
       subtitled)
Sorry, I thought there was a
bathroom here.

            BAR GIRL
      (Japanese;
       subtitled)
Straight through the door and to
your right.

            THE RIDER
      (Japanese;
       subtitled)
Thanks.

The Rider heads straight through a swinging door.

EXT. RAIL STATION

Roxie & Kev are amongst a crowd of people waiting on the
platform when the train arrives. They get on.

INT. TRAIN - MINUTES LATER

Roxie & Kev are standing close by the door. She's staring
out the window, pensive, when she feels him watching her.

ROXIE
(noticing)
What?

KEV
I've never seen you like this. So
afraid.

ROXIE
(chuckles)
Years fighting the system as a
F.R.O.G. and now the system is
fighting back. I dunno, I guess
this time I have a lot more to
lose now.

34.

KEV
(beat)
I know what it's like to lose
someone, Rox. I was only a kid
when my parents were killed. To
this day I'm not sure what it was
that did it; some thing, whatever
it was, I'm not even sure it was
human. All I can remember was it's
name: Cyoi.

FLASHBACK

INT. BEDROOM

ANGLE ON a YOUNG KEV hiding underneath a bed. We hear the
sounds of SLASHING and we can see BLOOD spilled on the floor
in front of the boy, as well as a pair of feet dangling
helplessly in front of him.

KEV (vo)
(continuing)
That and it's black eyes. I'll
never forget those eyes.

REVEAL a WOMAN of early-30s being held up by the throat by a
HULKING VAMPIRIC FIGURE, less of a man and twice the size of
one. This is CYOI, age unknown but looking like a man in his
thirties.

With one hand, he holds Kev's mother up, watching her
struggle before sinking his teeth in her neck. The life
slowly leaving her. Kev's father is already dead on the
floor as he helplessly watches this monster drain his
mother's blood. Soon after, Cyoi drops her body, letting out
a satisfied sigh after his drink -- his eyes BLACK as night
as blood drips from his grotesque fangs.

            MAN (OS)
      (japanese;
       subtitled)
Cyoi! Let's go!

Tears streaming down his face, Kev watches as Cyoi leaves --
never noticing the boy. Then, Kev looks down, noticing his
mother's corpse staring back at him. His fear starting to
turn into anger.

BACK TO SCENE

            KEV
      (restrained)
From that moment on, I vowed to
find the son of a bitch that
            (MORE)

35.

KEV (cont'd)
killed my folks, and end him!

Roxie notices the memory has brought up a side of Kev she's
probably never seen before as she seems his hands balled
into fists and shaking out of anger. She places a hand on
his cheek, slowly calming him down.

ROXIE
When we find Char, I will help you
do that.

He just looks back into her eyes, calming himself back down.

EXT. TRAIN

The train continues riding the rails through the city.

INT. GOLDEN PIPES - BATHROOM

The Rider walks in, passing by an exiting patron who looks
at him funny for still wearing his motorcycle helmet. The
door closes behind and The Rider stands in front of a
mirror. He slowly takes off the helmet, revealing CHARLIE,
mid-20s, alive and well as opposed to when we last saw him;
he sets the helmet down.

Charlie stares at himself in the mirror; this is a different
person than when we last saw him, his face slightly scarred
and more battle-hardened than before. This is the look of a
man who's been through hell and back.

SERIES OF SHOTS

These are Charlie's flashbacks to events we've never seen
before:

A) He's back in Paris, alone and helpless.

B) Charlie finds himself in a big BATTLE in a SNOWY VILLAGE,
helping villagers fend off attackers in a FIREFIGHT. Among
the attackers is John Henderson, killing everyone in sight.
Charlie gets ambushed by Henderson's team, then knocked out
and captured.

C) Charlie is taken to a prison somewhere in a remote area,
and forced into slavery.

D) In the prison, Charlie is forced to participate in
gladiatorial games against other fighters, specifically
other Products.

E) Time has passed, Charlie's hair has grown out as he

36.

fights his way through a PRISON RIOT with a friend. He has
another encounter with Henderson, they fight. Charlie, SHIV
in hand, manages to SLASH Henderson's face, leaving his
scar. A sudden EXPLOSION ends the fight and knocks them both
to the ground.

F) Charlie slowly awakens to NATO AGENTS AND SOLDIERS
carrying him out of the prison and onto a LARGE HELICOPTER;
he looks back at the prison, not seeing anyone else. Dazed,
he looks up at a female agent in body armor looking at him.

NATO AGENT
(echoing)
We're with NATO... you're gonna be
alright...

These images INTERCUT with shots of Charlie reacting as if
dealing with Post-Traumatic Stress, trying to shake the
images out of his head.

END SERIES OF SHOTS

Charlie shakes these images out of his mind, finally going
back to seeing himself in the mirror, panting to a slow,
relaxed breath. His clenched fists have broken pieces off
the sides of the sink. Whatever this young man has been
through has taken a toll on him, and now we're seeing the
results of it. He reaches behind his back, pulling up a
PISTOL. He COCKS it then holsters it back. Charlie leaves
the bathroom.

INT. GOLDEN PIPES - BAR

The bar is big, looking to hold about 50 in capacity --
maybe more. There is a young Japanese woman singing some
90's hip-hop song off the karaoke machine, with her friends
cheering her on.

The patrons inside the bar are a mix of American and
Japanese, with ages ranging between mid-20s to mid-40s.
There are three people working the bar, among them is LANA
MILLER, mid-30s, a blond cowgirl-type with an openness to
her.

Charlie enters the bar area from where the bathroom is,
looking serious as ever. He scopes the area out:

CHARLIE'S POV

He looks around, eventually spotting a small group of
OFFICE-DRONE TYPES sitting in a corner booth. They're
drinking and laughing amongst themselves. A closer look at

37.

the ID BADGES they are still wearing shows that they are
employees of GRIFFIN CORP.

BACK TO SCENE

God knows why Charlie is taking interest in these people; he
continues to watch the group as he makes his way to the
near-empty bar. They never notice.

Lana notices Charlie taking his seat and makes her way over
to her new customer.

LANA
(smiling)
What's your poison, Chief?

CHARLIE
(caught off-guard)
Huh?

LANA
What're you drinking?

CHARLIE
Uh...
(shrugs)
... I dunno, club soda, I guess.

LANA
Odd choice.

CHARLIE
(looking back)
Sorry, I'm driving tonight.

Lana takes out a small glass and a bottle of CLUB SODA. As
she pours it, she notices that Charlie won't take his eyes
off the Griffin employees.

LANA
(re: Griffin group)
Friends of yours?

CHARLIE
(turns back)
I'm sorry?

LANA (cont'd)
You've been staring at them pretty
hard since you sat down.

38.

CHARLIE
(takes a sip)
I'm supposed to meet them, but not
sure how to do it...

LANA
Well, friend, like my daddy always
said: "there's no better opening
line than 'Hi'". That's how he met
my mom.

CHARLIE
(chuckles)
You might be right.

LANA
Just go for it. They look friendly
enough as it is.

CHARLIE
Yeah, do or die, right?

LANA
Right.
(extends her hand)
I'm Lana, by the way. This is my
place.

CHARLIE
(shaking hands)
Charlie.

LANA
Pleasure to meet you, Charlie.
First time in Tokyo?

CHARLIE
(takes a sip)
How'd you know?

LANA
I can see it in your eyes. You
look like a man searching for
something.

CHARLIE
You could say that.

LANA
Well, listen, if you find yourself
in need of a friend, you know
where to find one. And by one, I
mean me.

39.

CHARLIE
I'll keep that in mind, thanks.

Lana smiles as Charlie finishes his drink. He pays her then
makes his way over to the Griffin group, meanwhile Minka &
Charlene enter the bar through the front entrance.

EXT. SHINJUKU STREETS

Kev & Roxie are scouring the streets, trying to find
Charlene but to no avail. They stop outside a market:

KEV
Wait, stop. We have a better
chance at finding Charlene if we
split up -- we'll cover more
ground that way.

ROXIE
(pacing around)
Oh my God, Kev -- we better find
her fast. Anything could happen to
her!

KEV
Calm down, Rox, we'll find her --

ROXIE
I swear if she's with that Minka
girl again, I'll kick both their
asses!

KEV
Yeah, well, we gotta find her
first. I'll take the north side,
you check south. We'll meet here
in twenty.

ROXIE
Okay.

They head their separate ways.

INT. GOLDEN PIPES - BAR

Charlie casually makes his way over to the Griffin party
sitting at their booth. They're carrying on a conversation
when they suddenly bust out laughing, as if from a joke.
Charlie taps the comedian on his shoulder -- an
average-looking American named TIM, mid-30s. Tim turns:

TIM
Hi, can I help you?

40.

CHARLIE
Uhh... I'm sorry. I... well, I
couldn't help but notice that you
worked for Griffin Corporation.

TIM
(smiling)
You American?

CHARLIE
(smiling)
Yes!

TIM
(pulls out chair)
Here, sit with us.

CHARLIE
(sitting down)
Wow, thanks. I just got into
Tokyo, and didn't think I was
gonna see another Westerner for at
least a day or two.

TIM
Don't worry, man, you're among
friends. I'm Tim, and these are
the people I work with.

CHARLIE
Hey, I'm Charlie.

TIM
So, Charlie, what was your
interest in my employer?

CHARLIE
Right. I'm looking for someone, a
man named John Henderson. Do you
know him?

Tim thinks it over, slowly shaking his head.

TIM
No... can't say that I do.

CHARLIE
Damn. I was hoping to find him.

TIM
You can always go to the building
on Monday and ask for him.

41.

On the other side of the bar, Minka & Charlene approach a
small group of 3 twentysomethings -- a MAN & 2 WOMEN --
sitting at a small table; these are the ones watching the
woman singing karaoke. There are a couple of beers sitting
on the table, waiting to be sipped, when Minka & Charlene
arrive. The young man, KOJI, turns:

KOJI
(smiling)
Minka, you're here!

MINKA
(sitting down)
Hey, Koji, sorry we're late.

KOJI
No worries. 'Sup, Char?

CHARLENE
Hey.

Minka grabs a beer, offering it to Charlene who refuses,
then starts sipping it.

            GIRL #1
      (re: singing girl)
She's so good!
      (to Minka &
       Charlene)
Are either of you going next?

MINKA
You know what? I'll go, why not?

Those watching the girl sing politely applaud her as she
heads back to her seat after finishing the song. Minka goes
up next, she chooses a ballad: "IF I AIN'T GOT YOU" BY
ALICIA KEYS. As the song starts up:

MINKA
This one goes out to all you
night-dwellers out there,
searching for that special
someone.

She begins to sing a soulful rendition of the classic song
as her friends watch her. Koji looks over to Charlene who
notices; he smiles but she innocently looks away.

Charlie is watching Minka sing, listening as if the lyrics
are speaking to him when Tim breaks his concentration.

42.

CHARLIE'S POV

As Charlie looks on over at Minka, his eyes slowly linger
over to Charlene, who innocently watches her friend sing.

BACK TO SCENE

Charlie curiously watches this young girl, feeling as if
he's seeing someone he knows.

TIM
Cute girl, huh?

CHARLIE
(realizing)
Huh? Yeah, I guess...

Halfway through the song, Kev enters the bar. He looks
around, spotting Charlene with her friends; he walks over to
her.

KEV
Charlene...!

CHARLENE
(startled)
Kev -- !

KEV
-- The fuck are you doing here!?
We were worried about you!

CHARLENE
I'm-I'm sorry...

KOJI
(standing up)
Hey, Char, is this guy bothering
you?

            KEV
      (pointing)
Sit down, alright? This doesn't
concern you.
      (grabs her arm)
Let's go, Charlene.

CHARLENE
(struggling)
No, wait, I was gonna sing next!
Kev, let me go!

43.

Minka, noticing the commotion, stops before the song is over
as other people watch the scene. Charlene is resisting as
Kev drags her to the door; some folks are about to help her
when 3 men walk in through the front entrance. Charlene is
petrified when she recognizes one of them, an American named
DAVID GATES -- mid-30s -- one of Henderson's men from
earlier.

CHARLENE
(panicking)
NO!! NO!!

Kev quickly notices this isn't her resisting him anymore:

KEV
Calm down, hun -- I'm not gonna
hurt you!

CHARLENE
No, that man tried to hurt me and
mom -- keep him away!!

Gates notices Charlene as she hides behind Kev. Kev knows
what she's talking about and quickly assumes a protective
stance. Charlie watches from where he's sitting.

KEV
(to Gates)
Hey, you!

Gates ignores him; Kev walks up and spins him around.

KEV
Hey, asshole, what'd you do to my
friend?!

GATES
Sir, I suggest you back off before
there's trouble.

KEV
"Trouble"?! I'm not going anywhere
until you answer the question!

The other two men with Gates surround Kev; he notices.
Charlie is intrigued himself, never noticing a young trio of
powerfully-built Japanese men, sporting YAKUZA TATTOOS, who
look over at him with interest.

GATES
Final warning: go back to your
table.

44.

Kev notices something strange in Gates' eyes now...

CU - GATES' PUPILS

His pupil start flaring up, becoming fire-red.

BACK TO SCENE

KEV
'The hell...?

Gates suddenly gives Kev a straight punch to the chest,
knocking him into Charlene, and down to the floor.

Gates and his men laugh, some of the drunkards laugh as
well. Others, including Lana, are stunned when they see Kev
struggle back to his feet. Minka helps Charlene up. Kev
quickly throws a bottle at Gates, and a fight erupts between
the four men. The bystanders quickly move out of the way.

Kev struggles to hold his own in this one-sided fight as
Gates and his men wear him down with a barrage of kicks and
punches. A concerned Charlie rises up to help, but one of
the Yakuza men places a hand on his shoulder:

YAKUZA YOUTH
Gaijin!

Charlie turn and quickly reacts, starting a fight of his
own. Charlene and her friends notice in confusion.

LANA
(watching)
Oh no!

The drunkards in the bar react by starting a bar brawl
amongst each other, throwing any object they can get their
hands on, breaking anything and everything in sight.

LANA
Jesus!

Lana quickly ducks behind the bar as the violence continues.
Those who are sober enough, rush to find an exit out of the
venue, including Charlene and her friends who exit through
the front.

EXT. GOLDEN PIPES - SAME

There is a crowd outside watching the chaos at the bar. As
Charlene and her friends make their way outside, she notices
as Roxie arrives on the scene.

45.

CHARLENE
Mom!

ROXIE
Char, are you okay? What the
hell's going on!?

CHARLENE
Those guys from earlier -- they
attacked Kev, and a fight started!
We should get help!!

A random drunk is thrown out through one of the windows,
surprising them.

ROXIE
(to Charlene)
Stay here.

She makes her way through the crowd and heads in.

INT. GOLDEN PIPES

Charlie quickly takes down his Yakuza attackers before
focusing on helping a beaten-down Kev; Charlie works on the
Icewing opponents using fast parries and counters. Kev is
confused but finds his confidence to start fighting back.

When one of Gates' men has Charlie pinned against the bar,
with his hands around his throat, Charlie notices when Roxie
enters the building. She looks around at the pandemonium
when her eyes meet Charlie's; Roxie is shocked until she
notices Gates' other man break a bottle over the bar, and
charge at him with the broken end. Roxie quickly intervenes
with a running knee to the man's chest -- joining the fray.

Charlie begins battling back, fighting ferociously against
his opponent. Roxie quickly disarms her enemy and stabs him
with the shard before going back to help Kev. As Charlie
wears his opponent down, Kev & Roxie use all effort against
Gates who is clearly the best fighter between the 3
mercenaries. Charlie incapacitates his enemy before helping
Kev & Roxie.

Charlene runs into the bar when the heroes finally manage to
take down Gates. The trio look over at each other, Roxie &
Charlie especially, when POLICE SIRENS (OS) are heard
outside.

CHARLENE
Mom -- !

46.

ROXIE
-- Let's go!

Roxie grabs her daughter's hand, and the foursome quickly
run out the back of the building.

EXT. GOLDEN PIPES - BACK ALLEY

As the local police converge the area, Roxie & company flee
the scene -- taking to the rooftops as fast as they can.

EXT. ROOFTOPS

The heroes make their way across the rooftops, escaping the
scene until they finally stop a few buildings down to catch
their breath. Roxie keeps her distance from Charlie.

CHARLENE
(to Charlie)
Thank you.

Out of breath, Charlie simply nods in response.

KEV
What the fuck just happened back
there!?

ROXIE
(beat; to Charlie)
You're supposed to be dead...!

CHARLIE
Roxie...

ROXIE
WHAT THE HELL ARE YOU DOING HERE,
CHARLIE!?

CHARLIE
I --

ROXIE
No, wait, here's a better
question: how the FUCK are you
alive!?

CHARLIE
I don't... it's complicated...

ROXIE
I'm listening...!

47.

CHARLENE
Wait, "Charlie"? You're THE
Charlie?

CHARLIE
Yeah, I guess. Who are you guys?

CHARLENE
I'm Charlene. I'm --

ROXIE
-- Answer the question, Charlie!

CHARLIE
I want to tell you everything, but
not here. We need to go some place
private.

Kev approaches Roxie, putting a hand on her shoulder; it's
subtle but doesn't go past Charlie.

KEV
He's right, Rox. This area is too
hot, we should head back home.
Let's go.

Kev and the girls take off. Charlie ponders for a moment but
then quickly follows behind.

EXT. UPSCALE HOTEL - ESTABLISH - LATER

A LUXURY HOTEL standing tall in the middle of Tokyo, all
SHIMMERING GLASS AND METAL, practically a masterpiece in
architecture.

INT. AMHERST'S SUITE

More of a penthouse apartment than your average suite, it's
very ultramodern and practically overlooks the entire city
of Tokyo. A penthouse fit for a king or, in this case, a
CEO.

A casually-dressed Amherst, drink in hand, is sitting on a
large couch, looking slightly concerned. Behind him is the
neon skyline of the city beyond the large windows. In front
of him are Henderson and Gates, who looks battered.

AMHERST
So, what happened exactly?

48.

GATES
Some punk started mouthing off, so
my guys and I decided to teach him
a lesson for it. Then, out of
nowhere, Roxie Warner shows up and
floors my team.

AMHERST
And you said there was another man
involved, correct?

GATES
That's right. He looked familiar
but I couldn't tell through the
skirmish.
(to Henderson)
I think I saw him once before,
Sir. Back in Russia.

Henderson looks back at him, he might know who he means.

AMHERST
Russia? What happened in Russia?

GATES
We were --

HENDERSON
Russia is of no importance.

Henderson looks over at Gates, almost to tell him to shut
up. Gates reciprocates.

AMHERST
Mister Gates, The Vulcan
Experiment was designed so that
you and your men would be able to
subdue anyone with little or no
problem at all. Surely, the
project can't have been a
failure...

GATES
I dunno. This guy was as strong,
if not stronger than us. Every
punch felt like a truck hitting
me.

AMHERST
(smart-aleck)
And yet he let you live. Perhaps
he was pulling them?

49.

Amherst rises from his seat as he takes a sip from his
drink, approaching the nearby window to look out.

AMHERST (cont'd)
This is a curious turn of events.
You have a rogue on your hands,
with physical traits similar to
yours. I don't know how he figures
into all of this, but I suppose it
wouldn't hurt to have him on your
side?

HENDERSON
Agreed. 'Soon as we take care of a
complication first.

AMHERST
Complication?

HENDERSON
The child is not a child anymore.
She's much older now. I know
because I saw her earlier at the
market.

AMHERST
Were you able to detain her?

HENDERSON
Not yet.

AMHERST
Wait, so, you're telling me that
Charlene is now a full-grown
adult, despite only being born a
year ago?

HENDERSON
Yes.

AMHERST
Oh my...
(takes a sip)
Well, let me know what I can do.

Henderson & Gates turn then exit the penthouse.

INT. ELEVATOR - MOMENTS LATER

Gates & Henderson are riding the elevator down when
Henderson suddenly hits the emergency stop button.

50.

GATES
Sir -- ?

Henderson suddenly draws his pistol and presses it up
against Gates' neck while pinning him against the wall.

GATES
What the -- !

HENDERSON
Soldier, under NO circumstance,
are you to EVER speak of what
happened in Russia, are we clear?!
(no answer)
I said are we clear!

Gates slowly nods and Henderson releases him, putting his
sidearm back in it's holster.

HENDERSON
Russia, the prison, and the people
there, none of it ever happened.
If word of it ever got out, it
would be the end of IceWing as we
know it.

GATES
But Sir, I recognized the
prisoner. And I think he
recognized me too. He was the one
who left you that scar...

HENDERSON
(beat)
David, do you like your job?

GATES
(shrugs)
Yeah, sure, the money's good.

HENDERSON
Have you sent some back to Melissa
and Aidan lately?

GATES
Every month.

HENDERSON
Then who will take care of them
when Interpol decides to take you
down for helping capture and
enslave hundreds of Products, all
for profit? Because the things we
did? There's no turning back from
(MORE)

51.

HENDERSON (cont'd)
it. I want you to remember that.

The realization comes over Gates as Henderson releases the
emergency stop. The elevator soon stops on a floor, letting
on an elderly tourist couple; Henderson feigns a smile at
them before noticing Gates looking ever so guilty. Henderson
gives Gates a slap on the chest, almost to tell him to snap
out of it, and he goes.

INT. KEV'S LOFT, LIVING ROOM

Our four heroes are back in the loft. Kev & Charlene are
sitting next to each other off to the side while Charlie
uncomfortably sits in a chair in front of a pissed-off Roxie
who stands a few feet away from him, staring almost through
Charlie.

CHARLIE
(beat)
Rox...

She suddenly leaves the room, making her way out the window
then up the fire escape. Moments later, Charlie decides to
follow her out.

EXT. ROOFTOP

We hear the sounds of various CAR HORNS and the occasional
SIREN (OS) as well as constant movement down on the bustling
streets when Roxie climbs up onto the roof. She's visibly
upset as she marches over to the edge and plants her hands,
leaning against it as she closes her eyes, gathering
herself.

A cool breeze SWEEPS BY almost as if to wipe the tears that
begin running down her cheeks. Charlie arrives moments
later; he's unsure whether to approach her or not until he
does:

CHARLIE
Roxie...

ROXIE
(wiping tears)
Where the hell were you!?

CHARLIE
I'm so sorry...

ROXIE
Eighteen months, Charlie! Eighteen
months I spent alone, in a place
that I barely understand,
(MORE)

52.

ROXIE (cont'd)
wondering if you were still alive!
What the hell happened to you?!

CHARLIE
Honestly, I don't know! One minute
I thought I was dead, then the
next thing I knew, I was standing
in front of the Eiffel Tower,
watching you fly away in a
helicopter! I spent all this time
trying to find you... and our
baby.

He takes a step towards her, reaching for her hand but she
pulls it away, folding her arms as she takes a step back.

ROXIE
How'd you know?

CHARLIE
Berkeley told me. Where is he now?

ROXIE
Dead.

CHARLIE
What? How?

ROXIE
He died helping me escape the
place we were taken to. Charlie,
why are you here? How did you find
me?

CHARLIE
It wasn't easy. After the Paris
incident, I found myself wandering
most of Europe alone. Then a
paramilitary group had captured me
and forced me into slavery. Next
thing I know, I'm spending six
months fighting in a Russian
prison, planning my escape. When
that day came, a riot took place
but it turned out that same
paramilitary group was running the
prison; luckily NATO came in to
contain the situation, and offered
me asylum. So I took it.

53.

ROXIE
(taken aback)
NATO? Why would they suddenly take
you in?

CHARLIE
They found out I was a Product,
and made me a deal.

ROXIE
What kind of deal?

CHARLIE
They're tracking a war criminal
named John Henderson. They saw me
try to kill him during the riot,
but an explosion knocked me out
and he escaped. The deal is if I
find and bring them Henderson,
NATO would help me find you and
provide safe passage for us back
to the States.

ROXIE
(laughing)
What, they make you a secret
agent, and suddenly you think
you're MY salvation?! You can't
beat Henderson, Charlie! He's the
one who abducted me; hell, I'm
just as much a Product as you are,
and he scares the shit outta me! I
don't think even he's human!

CHARLIE
Then come with me, Rox; I still
love you! You, me and the baby, we
can find our way back home -- !

ROXIE
I'm a fugitive, Charlie! I took
the fall for Astor's death,
remember!? I show my face and I'm
done! Besides, I'm starting to
settle in here; Kev has been
helping me adjust.

CHARLIE
Kev. He's the guy downstairs,
right? Are you in love with him?

ROXIE
He's been there for us.

54.

CHARLIE
But do you love him?

ROXIE
I don't know how I feel. Two years
ago, I was just a thief, running
the rooftops of Metro City, then
you entered my life and suddenly
my life is topsy-turvy; I'm
dodging bullets, fighting
mercenaries, and now I'm hiding
out from a faceless corporation in
Japan that wanted nothing more
than to run sick experiments on me
and my baby girl, and I have you
to thank for that!!

A beat goes by. He stares at her but she can't seem to meet
his gaze. Then:

CHARLIE
I don't know what I'm supposed to
say or do, if anything. All I know
is I spent eighteen months
searching for you, the memory of
you being the only thing
motivating me to go on... but I
didn't expect this.

ROXIE
(scoffs)
Yeah? Well, welcome to reality.

CHARLIE
(beat)
I don't know how long you'll keep
hiding but the Roxie I know, or at
least the Roxie I wanted to know,
wouldn't hide forever. I'm gonna
see my mission all the way
through; I'll find Henderson,
deliver him, then I'll be on a
plane headed back home. I'll save
a spot for you in case you change
your mind.

He walks back over to the ladder then climbs down. Roxie
stands there, wind gusts picking up and she lets his words
sink in.

55.

INT. KEV'S LOFT, LIVING ROOM

Charlie climbs in through the window, with Kev & Charlene
still in their seats. He pulls out a matchbook from his
pocket then places it on the nearby table.

CHARLIE
(re: Roxie)
In case she decides to speak to me
again, I'll be staying at this
hotel.

CHARLENE
Are we gonna see you again?

CHARLIE
(sighs)
It's her call...

Charlene walks over and hugs him, catching Charlie off-guard
just as Roxie gets into the living room -- surprised at her
daughter's gesture.

CHARLENE
Thank you for helping.

Charlie politely nods before looking over at Roxie one last
time. He pulls out a cellphone and dials a number, soon he
puts the phone to his ear as he walks out:

CHARLIE
(into phone)
Hey, it's me. I need a ride.

He walks out.

EXT. APARTMENT BUILDING

SOMEONE'S POV

We're looking out the windshield of a car parked just a few
yards down from the building, watching as Charlie exits the
building and gets into a black SUBURBAN before it takes off.

BACK TO SCENE

It's the same 3 Yakuza thugs from the bar earlier. The one
at the wheel quickly starts up the car and follows behind
the Suburban.

56.

INT. KEV'S LOFT, LIVING ROOM

An exhausted Roxie sits in a chair while Charlene & Kev
watch her.

KEV
So, who's Charlie?

ROXIE
Please don't start...

KEV
Oh, fuck that! I almost got killed
tonight, by some asshole with fire
in his eyes who damn near punched
a hole through my chest when, out
of nowhere, some dude in a leather
jacket comes in and saves the day!
Now tell me, who the fuck is
Charlie!?

ROXIE
I guess you could say he's my ex,
alright?!

CHARLENE
Is he... my father?

ROXIE
(beat)
Yes.

KEV
I thought you said he was dead.

ROXIE
I thought so too but, obviously
he's not!

KEV
Alright, we won't get anywhere by
yelling. What did he want?

ROXIE
He didn't really say.

KEV
Did he at least say why he's in
Tokyo?

            ROXIE
      (scoffs)
You won't believe it. He's after
the same guy who's after us, and I
            (MORE)

57.

ROXIE (cont'd)
think he wants my help.

KEV
What happened to leaving?

ROXIE
Kev, don't you see? If I help him,
I-I won't have to...!

KEV
That's not what concerns me. How
do I know you don't have feelings
for him anymore?

ROXIE
What, you don't trust me?

KEV
You tell me. He left his address
over on the table. If you go
there, forget about coming back
here.

ROXIE
Wait, are you seriously gonna kick
us out?!

KEV
No, Charlene can stay. But not
you.

ROXIE
Fuck you, Kev! Charlene, let's go.

Roxie goes over and grabs Charlene by the hand, then she
grabs the piece of paper Charlie left and storms out of the
loft. Kev just sits back in his seat, pretty much expecting
that outcome.

EXT. TOKYO FREEWAY

The Suburban Charlie is riding in is cruising down the
freeway meanwhile the Yakuza trio, riding in a NISSAN fit
for a street racer, follow behind it just a few cars away.

EXT. EMPTY LOT - CONTINUOUS

Henderson and a total of about 8 men, including himself and
Gates, are standing outside in an empty lot. They're also
driving two Suburbans of their own, both parked next to each
other but with the engines still running and the lights
still on.

58.

Taking advantage of the discretion in their area, the
mercenaries all put on KEVLAR VESTS and grab a firearm out
from the trunks of their vehicles, be it PISTOLS OR
SUB-MACHINE GUNS.

HENDERSON
Alright, listen up. The target is
no longer Roxie but her child,
Charlene Warner. However she is no
longer a child but a full-grown
adult, who looks similar to Roxie.
I want her alive so apprehend her
using non-lethal means. There will
be some resistance, from both
Roxie and a third party; An
African-American male, standing
just about six feet, and exhibits
similar abilities to Roxie. He is
a person of interest but if you
kill him, chalk it up to an
occupational hazard. Your priority
is Charlene, nothing else.
Understood?

The men nod.

EXT. TRAIN PLATFORM - CONTINUOUS

Roxie and Charlene are among a small handful of people
waiting on the next train to arrive.

CHARLENE
Mom, where are we going?

ROXIE
We can't stay with Kev, Honey.
There are bad men looking for us,
trying to kill us.

INT. KEV'S LOFT, LIVING ROOM - CONTINUOUS

Kev is standing by a window, looking out. He looks
contemplative as he looks back and sees Charlene's video
game laying on the table along with a PISTOL.

ROXIE (VO)
(continuing)
Kev is better off staying away
from us.

He turns back towards the window, trying to make a decision.
Then:

59.

KEV
(sighs)
Fuck it.

He grabs the pistol, first cocking it and holstering it,
then heads out the front door, slamming it shut.

EXT. EMPTY LOT - CONTINUOUS

Henderson continues instructing his men.

HENDERSON
We'll split up into two teams:
Alpha and Bravo. I'll take Alpha.
Gates, you'll take Bravo. We'll
scour this city until we find
them. Anyone we capture, who isn't
Charlene, will tell us where she
is. You have your orders. Now go!

Locked and loaded, the men get into their trucks and drive
off.

EXT. TRAIN PLATFORM - CONTINUOUS

Roxie continues speaking with Charlene just as a train
arrives.

CHARLENE
Are we going to see my father?

ROXIE
Yes.

CHARLENE
Can he help us?

ROXIE
I think we'll be safer with him. I
think YOU will be safer with him.
Char, Honey, the people who are
after us will not hesitate to kill
me to get to you, do you
understand?

Charlene slowly nods just as the train doors open up.

ROXIE
Good. Let's go.

They board the train. The doors close moments later and the
train takes off.

60.

EXT. SHIBUYA DISTRICT

Charlie's Suburban drives through the streets of Shibuya,
Tokyo's own version of New York's Times Square. There is
plenty of movement here as we are approaching the late hours
of the night.

We see Charlie, a pair of headphones in his ears, looking
out through his passenger's side window, watching the people
as he passes by. In his car are three other men, including
the driver. Not too far back is the Nissan that's been
tailing them.

EXT. HOTEL - ESTABLISH - MINUTES LATER

It's not quite as impressive as the hotel Amherst is staying
in, but it's not exactly the most inviting either. As
Charlie's Suburban arrives out front. He steps out of the
car and heads inside.

The Nissan parks outside as well, keeping it's distance as
the Suburban leaves.

EXT. ALLEYWAY

Kev is walking along a well-populated sidewalk when he turns
and enters an empty alleyway. He continues further down,
eventually looking back to make sure he is not being
followed. He soon turns a corner where he is met by a couple
of armed thugs guarding a metal door. The men aim their
weapons at Kev, who raises his hands in the air as one
approaches:

ARMED THUG #1
'The hell are you doing here, Kev?

ARMED THUG #2
You're not welcome here anymore.

KEV
Relax, fellas, I'm just here to
see the boss. That's all.

Thug #1 pats him down, finding his gun holstered behind his
back.

ARMED THUG #1
So why the piece?

KEV
If you only knew the kind of shit
I've been through tonight. So,
you're gonna let me in or what?

61.

ARMED THUG #1
Sure, but I'll keep the gun. Can't
say the boss will be happy to see
you, though.

KEV
(heading in)
Makes two of us.

INT. STAIRWELL

Kev enters through the door and into a dim-lit stairwell,
almost something out of a Hammer horror film. He continues
down until he reaches another door at the bottom. He enters.

INT. UNDERGROUND NIGHTCLUB

The loud ELECTRONIC MUSIC is THUMPING and the scene is alive
as we see an abundance of people, none seemingly over the
age of thirty, all having a good time either drinking,
talking or dancing. Some even having a romantic rendezvous
at some corners of the club.

It doesn't seem much like Kev's scene as he crosses through
the club, making his way through the people and to a spiral
staircase on the opposite side of where he entered. He heads
up.

INT. MANAGER'S OFFICE

A typical nightclub manager's office with dim-lit lighting
set for the mood, a large desk with a few supplies on it, a
couch, some foliage, and a small credenza with liquor,
glasses and a bucket of ice.

There are 4 more armed men and a sultry AFRICAN-AMERICAN
WOMAN, wearing a slinky dress as she sits on the couch. This
is OLIVIA, early-30's, a woman as cold as she is gorgeous.
She sits almost as if expecting the company when Kev enters
through the door; he's almost taken aback by their
expectation.

OLIVIA
Kev Clark. You have some serious
balls coming back here.

KEV
Hello, Olivia.

He closes the door behind.

62.

INT. HOTEL ROOM

Charlie enters the dark room.

CLOSE ON the back of Charlie's head as a pistol is slowly
pressed against it. It stops Charlie in his tracks as he
raises his hands:

MAN (OS)
(American voice)
Hands in the air.

Charlie does as he's told.

MAN (OS)
Why are you here?

CHARLIE
I was hoping to go to bed.

MAN (OS)
Oh yeah, smart-ass? Turn around,
slowly!

Charlie does so, but halfway around he suddenly makes a
move, grabbing his attacker's arm, and fighting for the gun;
he tosses his assailant to the floor with a JUDO TOSS and
takes the weapon.

The lights are suddenly turned on, revealing the intruder to
be LIEUTENANT MARCUS HOPEWELL, early to mid-30's, AFRICAN
AMERICAN, well-built and handsome. He gets back up to his
feet as we hear a FEMALE VOICE (OS):

WOMAN (OS)
(British accent)
See, Marcus? I told you there was
nothing to worry about. You've
trained him well.

Reveal: CAPTAIN ALICIA GORDON, mid-30's, an impossibly
beautiful British redhead who looks almost too beautiful to
be a military officer. However, you'd be wrong to assume
it's not her brains and dedication that's gotten her thus
far.

HOPEWELL
(groaning)
Yeah, maybe a little too well...

CHARLIE
(helping him up)
Sorry, Lieutenant.

63.

Charlie hands back the pistol; Hopewell holsters it.

GORDON
You were supposed to report back
an hour ago, Charlie. What
happened?

Charlie sits on the bed.

CHARLIE
I know, Captain, but there was a
complication.

HOPEWELL
What kind of complication?

CHARLIE
(beat)
I found her.

HOPEWELL
The girl, Roxie?

Charlie slowly nods, never looking up at them.

INT. NISSAN - SAME

The Yakuza trio are still in the car, checking the PISTOLS
they've brought along as the driver speaks into a cellphone.

            YAKUZA DRIVER
      (into phone;
       subtitled)
Yes, he just went into a hotel,
hasn't come back out for a
while... We might need some
backup... I know he's just one guy
but we already know what he's
capable of!
      (noticing
       something)
Wait a second...

DRIVER'S POV

He spots Roxie and Charlene heading into the hotel.

BACK TO SCENE

            YAKUZA DRIVER (cont'd)
      (into phone;
       subtitled)
Send as many as you can.

64.

He hangs up then loads a clip into his gun.

INT. HOTEL ROOM

The dialogue continues between the NATO officers and
Charlie:

GORDON
Look, we know she is what you were
after but you also have an
obligation to us as well.

CHARLIE
Yes, I know. It's just --

GORDON
She's not going to be a
distraction, is she?

CHARLIE
(looks up at her)
No.

GORDON
Good. Now tell us what you have so
far.

CHARLIE
I made contact with a Griffin
employee. He doesn't know anything
about Henderson but he'll be my
way into the company. Also, I had
a run-in with a man I recognized
from the prison riot; one of
Henderson's men: Gates.

HOPEWELL
Captain, if this Gates is in
Tokyo, then Henderson could be as
well.

GORDON
Yes, I wouldn't rule it out
either. Okay, good, this is the
break we needed. The sooner we
find this Gates, the closer we can
get to Henderson. Good job.

Charlie nods once but is suddenly hit with a ferocious
migraine that knocks him back on the bed. He screams as he
writhes in pain. Gordon & Hopewell look concerned.

65.

GORDON
Charlie? Charlie, stay with us;
Marcus bring him a glass of water!

Hopewell quickly grabs a GLASS off the nearby nightstand and
runs into the bathroom to fill it with water from the sink.

GORDON
Charlie, your medication. Where
are your meds?

He struggles to point towards the nightstand as he lets out
another scream, his pupils becoming RED.

EXT. HOTEL ROOM - SAME

Roxie & Charlene arrive outside Charlie's room; they look
curious as they hear his screams and the voices insides.

GORDON (OS)
Hurry!

INT. HOTEL ROOM

Hopewell quickly runs back with the glass of water just as
Gordon takes out a PILL BOTTLE from the nightstand drawer
and opens it. She dumps out two pills onto her hand and puts
them in Charlie's mouth. Next, she takes the glass of water
from Hopewell and helps Charlie drink it; one swig and he
starts calming down.

Suddenly, the door is KICKED IN and Roxie steps inside just
as Gordon & Hopewell reach for the sidearms.

ROXIE
What the hell is going on here!?

GORDON/HOPEWELL
Who the hell are you?!

They aim their guns at her as Charlene walks in.

INT. MANAGER'S OFFICE

Olivia gestures for her bodyguards to leave the room. All
four walk past Kev, exchanging looks with him as he steps
further into the room. The door is closed behind them --
privacy at last. Olivia rises from her seat and heads for
the minibar.

OLIVIA
It's been a while. A drink?

66.

KEV
No, let's just cut the bullshit.

She starts pouring herself a drink.

OLIVIA
Yes, please. Why are you here?

KEV
I came to ask for a favor.

OLIVIA
(laughing)
"A favor", from me? Last I
remembered, you lost those
privileges.

KEV
C'mon, Liv, let's not make this
any harder than it needs to be.

She crosses back over to the couch and sits back down.

KEV (cont'd)
I see the club's doing well.

OLIVIA
(takes a sip)
Mmm... no thanks to you. That
bitch must've dumped your ass
otherwise you wouldn't be here.

KEV
(sits next to her)
The opposite actually. I dumped
her.

OLIVIA
Really? Interesting. So, what is
this favor you've come to ask?

KEV
(beat)
I need your help getting her back.

OLIVIA
(stands up)
Oh, for Christ's sakes, Kev -- you
really know how to kill the mood!

KEV
Not necessarily her, but her kid.
Something is going on and I want
to protect the kid from it. I'll
(MORE)

67.

KEV (cont'd)
do anything for Charlene.

OLIVIA
Cute name.
(takes a sip)
And what makes you think I would
help you?

KEV
Hong Kong. I'm sure the Triads are
still wondering what happened to
their money. Especially Xiao Chen.

OLIVIA
I know you didn't just go there --

KEV
Yeah, I did. Look, it's not in my
best interests to blackmail anyone
so don't make me do it. All I need
is some guys with lots of guns to
help me find Charlene and keep her
safe. Can you do that for me?

OLIVIA
What's in it for me?

Her curiosity piqued, she smirks as he slowly begins to
approach her, kissing her softly on each of her cheeks,
making her way down her neck to her collarbone:

KEV
(between kisses)
Remember all those nights we had
in Macau? Under the pale
moonlight, the whiskey the only
thing keeping us warm...

OLIVIA
(smiling)
Mmm... how could I forget?

KEV
(softly)
You help me and I'll bring the
whiskey...

He pulls back:

68.

OLIVIA
I wish I could've gotten such care
and affection from you as you have
for this Charlene.

KEV
(smirking)
Well, you know what they say: its
never too late.

OLIVIA
(beat)
Fine. You'll have your men. But
Kev?

KEV
Hmm?

OLIVIA
You fuck me over, and you're a
dead man. Got it?

He smiles just before kissing her deeply.

EXT. HOTEL

Two more cars pull up behind the Nissan; the Yakuza trio
step out of their car along with a total of 10 more armed
men stepping out of the other cars, including Hiroshi. He
approaches the Driver.

            HIROSHI
      (japanese;
       subtitled)
How long has he been in there?

            YAKUZA DRIVER
      (japanese;
       subtitled)
Almost an hour now. Two girls went
up there too.

            HIROSHI
      (japanese;
       subtitled)
Why are they important?

            YAKUZA DRIVER
      (japanese;
       subtitled)
We saw them together earlier.

69.

            HIROSHI
      (japanese;
       subtitled)
Okay. Then take them all out. No
screw-ups.

They all make their way into the hotel.

INT. HOTEL ROOM

Charlie sits up in the bed as the standoff continues:

ROXIE
Uh... Charlie? What's going on?

            CHARLIE
      (to Gordon &
       Hopewell)
It's okay, guys. Roxie, this is
Captain Alicia Gordon and First
Lieutenant Marcus Hopewell, NATO.
Lieutenant, Captain, this is Roxie
Warner.

ROXIE
Hi...

CHARLENE
(waves)
Hello, I'm Charlene.

INT. HOTEL LOBBY - SAME

Hiroshi and his Yakuza thugs march their way through the
lobby.

INT. HOTEL ROOM

Charlene closes the door as Roxie speaks.

ROXIE
We heard screams -- what happened?

CHARLIE
Migraine...

GORDON
Actually, he has Post-Traumatic
Stress Disorder.

ROXIE
Post-Traumatic Stress? From what?

70.

CHARLIE
It's a long story. Um, what are
you doing here, Roxie?

ROXIE
We came to talk.
(realizing)
Wait, if you're suffering from
PTSD, wouldn't that make you not
qualified for what these people
want you to do?

HOPEWELL
And what exactly is that?

ROXIE
Oh, come on! I know about the
Henderson situation so let's cut
the shit, shall we?

INT. HOTEL STAIRWELLS - SAME

The Yakuza continue making their way up the floors, shoving
people out of their way.

INT. HOTEL ROOM

Hopewell gives a look over to Gordon as they holster their
weapons.

GORDON
This mission, and anything you may
know of it, is classified. Do you
understand?

ROXIE
Relax, Sister, I know. And that's
why I'm here -- maybe we can help
each other. You're here for
Henderson, but Henderson is here
for us.

HOPEWELL
So, what are you proposing?

ROXIE
(re: Charlene)
I help you take him down, and you
give her safe passage back to
Metro City.

GORDON
What about you?

71.

ROXIE
Back home I'm wanted for murder. I
doubt there's anything you can do
for me, even though I didn't do
it.

HOPEWELL
I could see about getting you a
pardon...

ROXIE
If you can, sure. But I only care
about her safety.

CHARLIE
You don't have to do this.

ROXIE
Once someone came to me, desperate
for my help, and I didn't turn him
down. Now I'm hoping he can do the
same for me.

CHARLIE
But Roxie, I don't know who this
girl is...!

ROXIE
She's your daughter.

Surprised would be a vast understatement when we see the
look on Charlie's, Gordon's & Hopewell's collective faces
after hearing this bit of news.

INT. HOTEL HALLWAYS - SAME

The Yakuza men storm through the halls, kicking in doors
looking for their targets. With every door kicked in, we
hears screams and protests as they continue forward.

INT. HOTEL ROOM

Charlie rises up from the bed and approaches the girls.

CHARLIE
(softly)
Why didn't you tell me earlier?

ROXIE
(softly)
I'm sorry. I mean, with you coming
back, and Kev being there, it's
all kinda overwhelming, you know?

72.

CHARLIE
I understand... Gordon? Hopewell?
The terms are changing. I won't
continue unless you agree to them.
(to Charlene)
I will do everything in my power
to protect you. I promise.

HOPEWELL
(beat)
Well, minor setback or not, we've
come too far to call it quits,
Ma'am.

GORDON
Yes. Fine, we agree to the new
terms. But on the condition that
you deliver Henderson to us.

CHARLIE
Understood.

Suddenly, the door gets kicked in again, this time with two
armed Yakuza thugs CHARGING in. Gordon & Hopewell quickly
react by drawing their weapons; gunfire is exchanged as the
two agents take cover somewhere. BULLETS SHRED through the
beds and walls, Charlene SCREAMS as her parents quickly take
her to the bathroom.

INT. HOTEL HALLWAYS - SAME

Hiroshi and the rest of his men react to the GUNFIRE (OS).

            HIROSHI
      (japanese;
       subtitled)
IT'S THEM -- GO, GO!!

INT. HOTEL ROOM

The firefight continues on as Gordon & Hopewell only manage
to take pot-shots from cover while their enemies SPRAY THEIR
UZIS WILDLY, reloading as fast as they empty their clips.

INT. BATHROOM

The three Products quickly close the door behind them:

ROXIE
What do we do?

73.

CHARLIE
(re: Charlene)
First things first, we get her the
hell out of here! Excuse me.

He steps in the bathtub. Charlie takes in a deep breath
before suddenly PUNCHING A HOLE through the wall. The
display almost frightens Charlene. He continues punching and
kicking through the hole until it's large enough for a
person to fit through and get outside to the street.

CHARLIE (cont'd)
Okay, you should be able to make
the jump across to that fire
escape.

ROXIE
Char, come on!

Charlie moves out of the way as Roxie takes Charlene over to
the bathtub:

ROXIE
Okay, Sweetie, it's just like the
races. Just jump across and keep
running home. Don't stop for
anything, you hear me?

Charlene nods then jumps across, making her way down to
street level then keeps going.

INT. ICEWING SUBURBAN - SAME

Henderson and his men are cruising down the street, already
in Shibuya when they hear a female voice on their POLICE
SCANNER:

JAPANESE ICEWING
(listening)
Sir, they're saying there's shots
being fired at a hotel in Downtown
Shibuya.

HENDERSON
So what? Let the cops handle it.

JAPANESE ICEWING
Well, it's an unusual thing, Sir
-- could be the targets.

HENDERSON
Then, let's hope you're right.
Step on it!

74.

EXT. ICEWING SUBURBAN

The Suburban starts speeding off, weaving in and out between
cars.

INT. BATHROOM

Roxie steps back out of the tub:

ROXIE
Alright, let's go.

CHARLIE
What?! No, Roxie, you have to get
out of here -- !

ROXIE
I came to help you, Charlie. So,
give me a gun and let me help you.
Charlene will be fine.

Charlie looks at her for a moment, letting a sigh before
reluctantly reaching under the sink and handing her another
PISTOL. She checks the clip before reloading it:

ROXIE
Let's go.

INT. HOTEL ROOM

Roxie & Charlie step out of the bathroom; she drops the two
thugs with one shot each.

            ROXIE
      (to Gordon &
       Hopewell)
C'mon, let's get the hell out of
here!

Gordon & Hopewell reload their weapons as they quickly step
out of cover and follow the Products out.

INT. HOTEL HALLWAYS

As the Products and NATO agents step out of the room, they
spot more Yakuza coming up the stairs; more gunfire is
exchanged:

CHARLIE
Head towards the opposite
stairwell, we'll cover you!

75.

Roxie & Charlie fire back at the thugs, taking down a couple
as Gordon & Hopewell run back to the emergency stairs. Once
they reach it, they start providing cover fire.

GORDON
C'mon, we have you covered!!

Roxie & Charlie run towards them as they reload their guns;
the NATO agents take down 3 more thugs. All four head down
the stairwell.

EXT. STREETS OF SHIBUYA - CONTINUOUS

Charlene is running through the crowded streets, making a
scene as she shoves her way through the people.

INT. ICEWING SUBURBAN - CONTINUOUS

They quickly notice the commotion on the streets,
immediately pinpointing Charlene in the crowd.

HENDERSON
(pointing out)
There she is -- AFTER HER!!

EXT. STREETS OF SHIBUYA - CONTINUOUS

Both Suburbans SWERVE TO A STOP, causing a TRAFFIC JAM as
three of the mercenaries, including Gates, quickly step out
of their car:

GATES
(aiming his gun)
CHARLENE, FREEZE!!!

She sees the mercenaries and panics, sprinting into a nearby
alley now. Gates and his men follow suit, managing to keep
up with her pace.

INT. EMERGENCY STAIRWELL

It's a few floors before the bottom can be reached as our
heroes enter the stairwell. Two floors down and Hiroshi &
his men enter the stairwell too; they continue firing at our
heroes who return fire as the chase continues, both sides
missing their mark.

EXT. ROOFTOPS - CONTINUOUS

It's a mad dash back home for Charlene as she runs across
the rooftops, displaying impressive Parkour skills as she
tries her hardest to evade for pursuers whom she can't seem
to shake off.

76.

GATES
(into comms.)
Target's heading east on foot,
across rooftops!

INT. HENDERSON'S SUBURBAN - CONTINUOUS

They get the message and join the pursuit, quickly peeling
out.

EXT. ALLEYWAY

Charlie KICKS the emergency exit door open and he and the
rest of his group quickly run out. They run out to the
street, putting their guns away so as to not draw attention
to themselves.

ROXIE
Who the hell were they?!

CHARLIE
My informant, Hiroshi. Bastard
probably sent his guys to kill me.

ROXIE
They looked like Yakuza -- !

CHARLIE
They are!

HOPEWELL
Aw, kid, you don't use the
Japanese mafia as your
informants...!

CHARLIE
(smart-aleck)
Sorry, but I am pretty new at all
this!

Hiroshi suddenly kicks his way out of the emergency exit
with the remaining handful of his thugs as they heroes look
back. They start ducking under more Yakuza gunfire, running
as JAPANESE POLICE arrive on the scene with multiple squad
cars and cruisers.

EXT. STREETS

With the police exchanging gunfire with the Yakuza now, who
take cover behind whatever object they find suitable,
Gordon, Hopewell & The Products quickly run across and take
cover behind nearby cars that have been stopped in a traffic
jam currently taking place.

77.

GORDON
Go, find your girl! We'll meet at
the safehouse once this has died
down!

Charlie & Roxie nod then quickly run off away from the
firefight, and through the scared innocent bystanders.

INT. SEDAN - CONTINUOUS

Kev sits in the passenger's seat with a group of men from
Olivia's club riding with him in the car. They stop at a
traffic light when Kev notices something:

KEV'S POV

In the distance, he spots Charlene across the rooftops,
being chased by Gates and the other IceWing mercs.

BACK TO SCENE

KEV
(pointing out)
Yo, that's the girl!! We gotta
help her!!

EXT. SEDAN - CONTINUOUS

The driver, without hesitation, speeds off through the red
light, nearly causing a collision on the way through the
intersection.

EXT. ROOFTOPS - CONTINUOUS

Charlene continues running when one of the mercs finally
manages to catch up to her, and tackles her to the ground.
Charlene quickly turns around; she places a hand on the
merc's face, thumbing his eyes then finally kicking him off.
She continues running.

EXT. STREETS - CONTINUOUS

Roxie & Charlie continue running through the streets.

ROXIE
Charlene should be halfway home by
now. I know the quickest routes --
c'mon!

He follows her lead into a shopping plaza.

Elsewhere, Kev and his crew continue speeding through
traffic while keeping up with Charlene, not realizing

78.

Henderson and his men are much closer to her than they are
as they seem hot on her trail.

EXT. ROOFTOPS

Charlene is a full rooftop away but has run out of road. She
frantically looks around then ahead, noticing a overpass for
an oncoming train ahead.

INT. SEDAN - CONTINUOUS

Kev is looking up at Charlene, seeing her dilemma.

KEV
(thinking aloud)
Char, baby, what are you
thinking...?

EXT. ROOFTOP

Charlene looks to the side and sees a train getting closer.
She then looks back as Gates and his men finally reach her
but stop some feet away.

GATES
There's nowhere to go, Charlene.
Just come with us, we won't hurt
you. I promise!

CHARLENE
No! Go away!

She quickly climbs over the ledge; the mercenaries run after
her but Charlene quickly jumps towards the train and tumbles
on top of the roof. It's a scary sight as Charlene struggles
to cling on to the side of the train, finally getting her
bearings and climbing on top where she sees Gates and his
men jumping on the train as well.

INT. SEDAN - CONTINUOUS

Kev is shocked but relieved she made the jump:

KEV
(to driver)
Go! GO!

They continue on.

EXT. TRAIN

As the train speeds along the tracks, Charlene struggles to
keep her footing as she progresses forward. Gates and the

79.

other mercenaries persist after her. Charlene glances back
at them, showing frustration but there's something different
in her eyes now, they seem to be WHITING OVER.

GATES
Charlene, where are you going!?
There's nowhere else to go,
surrender!

There's something going on in the air, ELECTRICITY CRACKLES
and we start seeing small objects suddenly begin to LEVITATE
around her. It's a familiar scene to us but not to the
mercenaries who start noticing when Charlene turns, EYES
COMPLETELY WHITE now:

CHARLENE
(frustrated growl)
I TOLD YOU TO LEAVE ME ALONE!!

An ENERGY BALL reminiscent to a scene out of Anime, suddenly
SHOOTS out of her hands, and towards Gates and his men who
quickly duck under it.

GATES
What the hell -- !?

Charlene's voice become almost PRIMAL as she speaks:

CHARLENE
LEAVE...ME...ALONE!!!

With her hands slowly rising up, Charlene suddenly begins to
DERAIL the train off the overpass! SCREAMS (OS) are heard as
the car comes off the tracks.

INT. SEDAN - CONTINUOUS

Kev is astonished by what he's seeing.

KEV
Oh... shit -- LOOK OUT!!

EXT. STREETS

All nearby cars, including the one Kev is in, try to swerve
out of the way as TRAIN CARS BEGIN FALLING from the overpass
above. It's the craziest sight imaginable as the falling
cars and debris cause utter destruction on the streets
below, crushing any and all vehicles they land on.
Fortunately, Kev and his crew manage to avoid being crushed
as their car comes to a screeching halt.

80.

Ahead of the train itself, Henderson's Suburban stops away
from the destruction. Gates and his men have no choice but
to jump off the train as it falls to the street below;
Charlene jumps down as well but lands on the roof of a car
and is knocked unconscious.

Cut off by a few cars, Kev and his men step out of their
vehicle.

KEV
(thinking aloud)
Charlene, what did you do...?

Up ahead, Henderson and his men step out of their Suburban.
The mercenaries find Charlene passed out on the nearby car
and quickly rush to collect her as Henderson watches the
scene, himself as shocked as everyone else is.

HENDERSON
(thinking aloud)
My God...!

As Gates, Henderson, and all the IceWing men on the scene
reunite and put Charlene in one of their vehicles, Kev
climbs over the wreckage to see the abduction take place.

KEV
HEY!!!

Pistol in hand, Kev quickly sprints over to save her but
Henderson and his men aim their guns at him, stopping him in
his tracks as a standoff takes place:

HENDERSON
Ah, ah! Drop your weapon, Son.
Don't add yourself to the body
count.

Seeing he's outnumbered, Kev reluctantly drops his gun.

KEV
Who are you?! Where are you taking
her?!

GATES
(to Henderson)
He's one of Roxie's people, Sir.

HENDERSON
Is that right?
(to Kev)
What's your name, boy?

81.

KEV
Go fuck yourself!

HENDERSON
(chuckles)
I want you to give Roxie a message
for me. I want you to tell her
that it's time to come home. Can
you do that for me?

KEV
Fuck you! Just gimme the girl!

Henderson extends his hand out to one of his men, gesturing
for them to give him what turns out to be a BURNER PHONE. He
hands it over to Kev, who just looks at it:

HENDERSON
Take it.

Kev takes the phone while staring down Henderson who grins.

HENDERSON
We'll be in touch.

Henderson turns and gets in one of the Suburbans. The rest
of the men slowly back away and get into their vehicles,
with Gates being the last one.

KEV
(to Gates)
If you hurt her, I'll kill you
all!

Gates just smirks as he gets in one of the Suburbans before
they take of.

INT. HENDERSON'S SUBURBAN - CONTINUOUS

Henderson dials a number on a cellphone then puts it to his
ear:

HENDERSON
(into phone)
It's Henderson. We have secured
the package.

EXT. STREET

A pissed-off Kev clutches the phone in his hand as he
watches the IceWing vehicles leave.

82.

INT. KEV'S LOFT, LIVING ROOM - LATER

Roxie & Charlie enter the loft. She starts up the generator
for the electricity before turning on the lights and looking
through the rooms. Charlie just walks over and looks out the
window.

            ROXIE
      (looking through
       rooms)
Charlene? Char, honey, where are
you? Charlene!
      (to Charlie)
She's not here...!

CHARLIE
Well, I told you to stick with
her!

ROXIE
Relax, we probably just got here
first. She'll be here.

She takes a seat on the couch, almost slumping from
exhaustion.

ROXIE
(beat)
Since when did you become so
assertive anyway?

CHARLIE
How do you mean?

ROXIE
I dunno, you just seem to be
more... in control, y'know? Like,
you're no longer that wide-eyed
innocent person I met back in
Metro City...

He sighs as he joins her on the couch:

CHARLIE
(shrugs)
I dunno. I've seen some shit these
last few months...

ROXIE
(taken aback)
"You've seen some shit"? Since
when do you curse?

83.

            CHARLIE
      (smiles
       half-heartedly)
The world's changed me.

He glances at her and they both share a chuckle.

ROXIE
(beat)
I was devastated, you know? When I
thought you died.

CHARLIE
I felt hopeless without you.

ROXIE
What happened? Please, I have to
know.

He stares at the floor, trying to find the words to tell
her.

CHARLIE
(beat)
Back in that tunnel, I was the
only one who could get close to
Laroche. I had a grenade in hand,
pulled the pin, and I was so sure
that was gonna be it... but it
wasn't. She used her powers and
kept the grenade from blowing up,
told me that "her baby deserved to
live and that she would not watch
me die." I tried to escape but the
grenade went off and I was trapped
under some rocks. It took all of
my willpower to get me out of
there.

ROXIE
Wow. I guess Laroche really
believed you were her son.

CHARLIE
I was her son. In those final
moments, I felt a connection with
her that I had always been looking
for.
(looks at her)
And then it was gone.

Roxie puts a hand on the back of his head, caressing it.

84.

CHARLIE (cont'd)
You know, all I ever wanted was to
see the world as I had imagined
it. To know people, to fall in
love... but now? I hate it. I hate
this feeling of being in love, of
being vulnerable, because there is
no pain greater than the kind love
can inflict. That's why this
mission is so important; it's my
way out. Because at this point, I
just want to die.

A genuine look of concern comes over Roxie, the kind of look
Charlie is not used to seeing, before she suddenly kisses
him -- deeply and very passionately.

CHARLIE
What was that for -- ?

ROXIE
Charlie, listen to me... I may die
soon....

CHARLIE
What...?

ROXIE
Remember that doctor back in
Paris?
(he nods)
He ran a bio-scan on me when we
found out I was pregnant. But in
the process of it, he found some
kind of explosive device implanted
in my body. It could go off at any
time.

CHARLIE
(softly)
Oh my God...! What are you gonna
do?

ROXIE
(tearing up)
I don't know. Charlie, I'm scared!
Nobody knows but I'm scared of
Charlene being left on her own. If
anything happens to me, you have
to promise you'll look after her,
okay?

85.

CHARLIE
M-Maybe I can save you -- !

ROXIE (cont'd)
No, Charlie -- promise me!

CHARLIE
(beat)
I promise...

Charlie puts an arm around Roxie as she continues sobbing,
holding her close. Moments later, Kev enters the loft,
followed by the men from the club.

KEV
(surprised)
What the fuck!

Charlie lets go of Roxie as Kev quickly draws his pistol and
aims it at him.

ROXIE
(wiping tears)
Kev...

KEV
'The fuck are you two doing here?!

CHARLIE
Kev, put the gun down. I'm not
your enemy --

KEV
Shut the fuck up!
(to Roxie)
And you. I thought I told you that
if you went to him, you're not
welcome back here.

ROXIE
I know, but something went down in
Shibuya and we had no other place
to go. We're just waiting for
Charlene.

KEV
You're wasting your time...

ROXIE
What -- ?

86.

KEV
SHE'S NOT COMING, ROXIE -- THEY
TOOK HER!

CHARLIE
How is that possible...?

KEV (cont'd)
(holstering gun)
If YOU hadn't shown up in that
bar, we wouldn't be in this shit,
and Charlene would be home right
now!

ROXIE
Oh yeah?! And what the fuck did
you do better, Kev!?

KEV
I tried to save her!! But shit got
so crazy that I couldn't get to
her in time!

ROXIE
Who took her?

KEV
I dunno -- some British guy!

ROXIE
(panicking)
Oh no... No, no, no, no! Did they
say anything!?

KEV
Something about you "coming home".
(showing phone)
They also gave me this, 'said they
would contact us soon.

ROXIE
Shit, Kev, I'm so sorry to get you
involved in this...!

He just looks at her, not knowing how to respond.

CHARLIE
(re: men)
Who're these guys?

KEV
Backup.

87.

ROXIE
(already knows)
You went to Olivia?

KEV
(shrugs)
'Had no choice.

Suddenly, a cellphone starts RINGING (OS); Charlie reaches
into his pocket and answer it, with a greeting that catches
both Roxie & Kev off-guard:

CHARLIE
(into phone)
Warner.

EXT. PORT OF TOKYO - SAME

Gordon & Hopewell are walking alone through the shipping
port, away from any other person who could be close by.

GORDON
(into phone)
Charlie, are you and Roxie
alright?

INTERCUTTING

CHARLIE
Yeah, we're okay. And you guys?

GORDON
We managed to slip away as the
police took down your Yakuza
friend. Did you catch up with your
daughter?

CHARLIE
(sighs)
No, Henderson somehow beat us to
her. Listen, is there any place we
can meet?

GORDON
Of course. Meet us at the shipping
yard in one hour.

CHARLIE
Got it.

Charlie hangs up. He notices Roxie & Kev looking at him
quizzically:

88.

CHARLIE
What?

ROXIE/KEV
"Warner"?

CHARLIE
I needed a last name. Anyways, I'm
meeting Gordon at the shipping
yard. If we're to get Charlene
back, I suggest you come with.

He leaves the loft. Kev & Roxie look at each other before
deciding to follow him out, along with the other guys
following behind.

EXT. GRIFFIN CORP. HEADQUARTERS - ESTABLISH - MINUTES LATER

SUPER - GRIFFIN CORPORATION, JAPANESE HEADQUARTERS

A tall logo-less building made of glass and steel standing
tall in the heart of Tokyo.

INT. GRIFFIN CORP. HEADQUARTERS, GENETICS RESEARCH DIVISION

Amherst walks down a long, immaculate hallway with
Henderson, flanked by some of his men in the lab area of the
building as they pass by some people wearing lab attire.

AMHERST
How is she?

HENDERSON
She was unconscious when we got
her but we're keeping her sedated,
for now.

AMHERST
Sedated? Why?

HENDERSON
Something happened, something I've
never seen before. Her powers,
they were, extraordinary, to say
the least. I mean, I thought what
I could do was incredible, but not
on this level.

AMHERST
Let me see her.

They turn a corner until they reach a door with two armed
guards outside. Amherst swipes a keycard on a panel,

89.

allowing him and Henderson access while the rest wait
outside.

INT. LABORATORY

The lab is pretty big in size, with all the equipment you
would expect to see in such a place. With her head wrapped
in a bandage, Charlene is lying restrained on a table as a
team of scientists observe her vitals on a monitor and do
whatever work is needed.

Amherst & Henderson enter the lab.

AMHERST
What happened to her?

SCIENTIST
Well, she took a pretty nasty hit
to the head but it healed before
we could do anything about it.
She's been asleep for a while now;
her vitals are fine, all we need
to do is wait for her to wake up.

AMHERST
(to Henderson)
Why was she harmed?

HENDERSON
She fell off a train before we got
to her. The girl derailed a train
off it's tracks, using just her
mind.

AMHERST
Hmm... well, that's interesting.

Charlene slowly begins to wake up:

CHARLENE
(groggy)
Huh... Where am I...? Who are you
people...?

AMHERST
(approaching)
Hello, Charlene, my name is Trent
Amherst.

CHARLENE
W-where's my mom? I wanna go home!

90.

She tries to free herself from her restraints but with no
luck.

AMHERST
Shhh... it's okay. You're in good
hands here.

CHARLENE
Let me go!

Her eyes start WHITING OVER again; objects begin to VIBRATE
AND LEVITATE as everyone takes a step back, especially
Amherst who seems both nervous yet fascinated. Using her
telekinesis, Charlene suddenly HURLS a SCALPEL over at
Amherst, who quickly reacts and ducks under it as it lands
into a wall nearby.

AMHERST
(to scientists)
Do something, quick!!

Charlene struggles to get herself free, and hurls more
objects at her captors psychically as two male scientists
rush to hold her arms down; Henderson helps by holding her
legs down as a third scientist rushes over with an
AUTO-INJECTOR -- injecting Charlene with another sedative.

As Charlene is put back to sleep, Henderson slowly backs
away and to Amherst:

HENDERSON
Now do you see what I mean?

AMHERST
Mister Henderson, this girl is
dangerous; I don't want any part
of this anymore!

Amherst tries to leave but Henderson grabs him by the arm,
pulling him close:

HENDERSON
(whispering)
Listen to me, this girl is the
only chance I have at staying
alive! I don't give a shit about
how unethical my methods may seem;
you may have the money but don't
forget who really has the power
here!

91.

AMHERST
(beat)
You do realize someone like her
can't be contained, right?

HENDERSON
We'll re-train her, make her more
obedient.

AMHERST
"Obedient"? Like a dog?

HENDERSON
That's one way to look at it. We
just need Roxie to help us. That's
all.

AMHERST
And how do you supposed she'll
cooperate?

HENDERSON
We'll reach out to her. Believe
me, she'll cooperate.

AMHERST
Fine. But, once I hold up my end
of the bargain, I expect the same
of you as well.

Henderson looks on as Amherst leaves the lab, then looks
back over at Charlene who sleeps as the scientists pick up
the objects that were thrown.

EXT. PORT OF TOKYO - ESTABLISH - LATER

Its quiet at the Port of Tokyo, where there are many
containers and a freighter docked nearby. The moonlight
shimmers off the water while the city skyline makes for a
beautiful sight.

Gordon & Hopewell are standing outside of an open shipping
container as Charlie, Roxie & Kev approach them.

CHARLIE
Captain. Lieutenant.

GORDON
(re: Kev)
Who's this?

92.

ROXIE
This is Kev. He's with us.

Gordon & Hopewell glance at each other, too many people are
getting involved now.

HOPEWELL
Alright, so what's the sit-rep?

ROXIE
Charlene's been taken, and we need
your help getting her back.

CHARLIE
Yeah. Henderson's got her, but we
don't know where.

GORDON
How you figure that?

KEV
(smart-aleck)
Because the motherfucker took her!

HOPEWELL
Whoa! Calm down, okay?

KEV
Roxie, why are we even talking to
these two?! We should be coming up
with a plan to save Charlene!

ROXIE
Because they're NATO, and right
now they're our only chance at
getting her back so relax!

            CHARLIE
      (to Gordon &
       Hopewell)
Kev got close to her but IceWing
beat him to the punch.
      (to Kev)
Show 'em the phone.

Kev reaches into his pocket and takes out the burner phone,
handing it to Gordon.

CHARLIE
They said they'd call him on that
phone. We just don't know when or
why.

93.

HOPEWELL
This is good. Captain, if we get
this phone back to base, we can
probably trace the call once it's
made --

Suddenly, the phone starts to RING in the palm of Gordon's
hand. It catches everyone off-guard.

ROXIE
(looks at phone)
Unknown number...

Gordon hands the phone back to Kev:

GORDON
Put him on speaker.

Kev nods as he answers the phone:

KEV
(into phone)
Yeah?

HENDERSON
(from phone)
Still alive, my friend?

KEV
(into phone)
Longer than you'll be, asshole.

HENDERSON
(from phone)
And did Roxie get my message?

ROXIE
(into phone)
Where's my daughter!?

HENDERSON
(from phone)
Don't worry, she's out of harm's
way. For now.

ROXIE
(into phone)
What do you want from us?

            HENDERSON
      (from phone)
Mister Amherst would like to
invite you and our mutual friend
to lunch tomorrow. And by friend,
            (MORE)

94.

HENDERSON (cont'd)
I don't mean the foul-mouthed one.
No, I mean the quiet one who's
probably standing right next to
you.

She glances at Charlie.

ROXIE
(into phone)
Where?

HENDERSON
(from phone)
Park Hyatt New York Grill, two PM.
Come alone.

ROXIE
(into phone)
How do I know you're not setting
us up? How do I even know that
I'll see my daughter again?

HENDERSON
(from phone)
You don't. But do you really want
to risk her life all because of
trust issues?

ROXIE
(beat; into phone)
We'll be there.

HENDERSON
(from phone)
I know you will.

Henderson ends the call.

CHARLIE
I don't like this...

HOPEWELL
He's smart -- the New York Grill
is on the fifty-second floor of
the hotel. Getting out of the
building won't be easy for you,
should something go wrong.

ROXIE
Can't you two go in there with us?

95.

HOPEWELL
No, officially, we're not even
here. Captain, he mentioned a
"Mister Amherst". Who do you think
he means?

ROXIE
Trent Amherst. The CEO of Griffin
Corporation.

KEV
Hold up, what's so important about
Charlene that a major corporation
is involved?

ROXIE
(beat)
She's a MetaPSI...

KEV
I'm sorry, a what?

ROXIE
A MetaPSI -- a psychic Product.
She can move things with her mind
when she feels scared or angry.

CHARLIE
But, we killed the MetaPSIs back
in Paris....

ROXIE
Charlene is another one. Since
birth.

CHARLIE
(realizing)
That's why they want her so badly.
She has our abilities, and she's a
MetaPSI; they want to turn her
into a weapon!

            KEV
      (thinking aloud)
That's crazy...!
      (to group)
Okay, so what do we do?

CHARLIE
He said to go alone. That's what
we'll do.

96.

KEV
No, you're not; "The enemy of my
enemy is my friend." And I want to
see that piece of shit burn as
much you guys do.

ROXIE
You don't have to, Kev. This isn't
your fight.

KEV
Look, I love Char as if she was my
own. Besides, that asshole made it
my fight once he put that phone in
my hand.

GORDON
In that case, you'll need weapons.
Let's go.

Gordon leads the team into the open shipping container.

INT. SHIPPING CONTAINER

The container is pitch black until Gordon turns on a light,
revealing a secret hideout complete with a small bed,
electronic equipment such as for surveillance, and computers
and monitors.

GORDON
Make yourselves at home.

ROXIE
(thinking aloud)
A bit small for "home"...

CHARLIE
What happened to HQ?

GORDON
Do you really think we'd bring a
couple of strangers back to base
with us?
(to Roxie & Kev)
No offense.

KEV
None taken.

As Hopewell heads over to the far wall at the end:

HOPEWELL
Guys?

97.

After Hopewell hits a secret panel on it, the wall opens up
to reveal a sizable armory filled with PISTOLS, AUTOMATIC
WEAPONS, SHOTGUNS, EXPLOSIVE WEAPONS, AND HIGH-POWERED
RIFLES.

HOPEWELL (cont'd)
Take your pick.

KEV
(smiling)
Now, that's what I'm talking
about...!

Kev wastes no time crossing over to the armory, picking out
a BERETTA 92 PISTOL and a MACMILLAN TAC-308 BOLT ACTION
SNIPER RIFLE.

GORDON
(re: rifle)
You know how to use that?

KEV
I used to go hunting with my dad
when I was younger. I know a thing
or two.

GORDON
Good. Then, you and Hopewell will
be positioned on the rooftop of
the building across; provide
support if needed.

Kev & Hopewell nod in response as Hopewell picks out his
weapons. Charlie grabs a HECKLER & KOCH MK.23 PISTOL,
checking the clip before holstering the weapon.

ROXIE
(noticing)
That's all you're taking? These
guys aren't lightweights.

CHARLIE
I know. But, if we're gonna be
somewhere public, I don't want any
civilians getting hurt.

ROXIE
That make sense.

As she grabs her own weapon, a GLOCK 17 PISTOL, she looks
down and notices something that concerns her.

98.

CLOSE ON - CHARLIE'S HAND

It's trembling a bit.

BACK TO SCENE

ROXIE
(whispering)
Are you okay?

CHARLIE
(realizing)
I'm fine.

She simply looks on as he walks away. Kev walks over to her:

KEV
Hey. You ready?
(she nods)
We're gonna get her back.

She smiles half-heartedly as he pats her shoulder. As Gordon
is done grabbing her weapon, another Glock 17 pistol:

GORDON
Okay, everyone, listen up.
Obviously, we don't know what we
could be walking into here, but if
we're not careful, we could start
a war we can't possibly win. These
next few hours are crucial; I know
we may not all know each other
very well, but I expect everyone
to be on top of things.
Understood?

Everyone else nods.

GORDON
Let's go.

They all leave the container. Hopewell, the last one out,
closes it up.

MONTAGE

1) The sun is starting to come up as we see Amherst sitting
in his office.

2) Back in the laboratory, the same team of doctors is
working on Charlene who is still sedated. She is hooked to a
large machine, some kind of BLOOD TRANSFUSER; we see her
BLOOD travel through TUBES and into the machine, which has

99.

VIALS spinning on a conveyor belt.

3) Hopewell & Kev are in the emergency stairwell of what we
can only assume is a tall building, making their way up --
both carrying a backpack and duffel bags each.

4) As the sun rises higher, Gordon, Charlie & Roxie are
speaking with a young male Japanese employee outside the
service entrance of the hotel, in an empty alley. Some words
are exchanged between Gordon and the man, before she pays
him with a ROLL OF CASH. In return, he gives her a KEYCARD
and a LARGE DUFFEL BAG. The man

CHARLIE
How'd you manage to get all that
so quick?

GORDON
(smirking)
You're not the only one with
connections here.

She swipes the card and heads in the building alone, while
Roxie & Charlie leave another way.

5) Henderson and his small band of mercenaries are shirtless
in another lab at Griffin Corporation, being injected with
what we can only assume is Charlene's blood. Henderson
closes his eyes -- feeling the effects of the transfusion,
then he opens them and a sense of power comes over him. He's
loving it.

6) Gordon is alone in a service elevator. She hits the
emergency stop a few floors up, and begins opening the
duffel bag.

7) Kev & Hopewell finally reach the rooftop; with a perfect
view of the hotel's restaurant, they begin setting up their
sniper's nest with Hopewell being the spotter and Kev the
shooter.

8) The IceWing mercs, dressed in suits, are in an armory,
wasting no time in grabbing their weapons.

9) Gordon emerges out of the service elevator, in a PREP
COOK'S UNIFORM. With no one around, she dumps the duffel bag
in a nearby trash bin and holsters her gun behind her back
as she walks into the kitchen.

10) Back in the lab with Charlene, she is fitted with type
of COLLAR around her neck, with a small electronic device
attached to it. She is awake and looks sad when the device
suddenly gives her a non-lethal SHOCK, jolting her back to

100.

life.

11) Gordon is on the roof of the hotel. She speaks into an
earpiece:

GORDON
(into comms.)
Check, check. Can everybody hear
me?

HOPEWELL (OS)
(from comms.)
Loud and clear, Ma'am.

GORDON
(into comms.)
Good. Charlie & Roxie, I'll be in
there with you, so don't worry.

CHARLIE (OS)
(from comms.)
Copy that.

Gordon heads back into the building.

12) Amherst is still sitting in his office, staring out to
the city. He finally stands up and fixes his suit as he
turns to Henderson, who is standing close by in a suit of
his own now:

AMHERST
Okay.

Both men casually leave the office.

EXT. SHINJUKU GYOEN NATIONAL GARDEN - AFTERNOON

It's a bright, beautiful afternoon at this popular yet
uncrowded public garden in Shinjuku. Roxie & Charlie
casually walk through the garden, unable to fully admire and
appreciate it's beauty on what could almost pass for a date
if it weren't for what they could be facing later.

Charlie stops by one of the ponds, staring at his reflection
for a beat. Roxie joins him in thought, then:

ROXIE
Charlie, what happened to you?

CHARLIE
I thought we got passed that --

101.

ROXIE
I know. But you don't seem okay.
Earlier, you mentioned something
about being a prisoner, then
Gordon said you had PTSD. And just
a few hours ago, you seemed very
tense about something. Did
something happen to you while you
were gone?

CHARLIE
(beat)
During my first month in Russia, I
was tortured on a daily basis by a
Russian named Viktor Azarov. A
former doctor who tortured
prisoners for fun.

FLASHCUT

We see brief images of a nude Charlie, his wrists restrained
by CHAINS hanging from the ceiling above. VIKTOR AZAROV,
mid-60's, wears dark clothing and sports a neat, gray crew
cut. He's a rather small and scruffy man, who thinks himself
the bigger man in the room at the moment as he tortures
Charlie with several items; prodding, cutting and beating
our hero -- taking pleasure in it all.

BACK TO SCENE

CHARLIE (cont'd)
When he learned of my abilities,
he would try everything he could
to push my threshold. Nearly
exhausting my powers in the
process. I was like a toy to him.

FLASHCUT

Over the course of various days, we get glimpses of Azarov
gleefully torturing Charlie. On some days, Charlie is
begging for mercy but it only seems to amuse the mad doctor
even more. On other days, the torture goes on until Charlie
passes out and heals again.

BACK TO SCENE

CHARLIE
This went on for about thirty
days, maybe. I dunno -- I lost
count. Eventually, I'd regained
enough strength to break the
chains and kill Azarov.

102.

FLASHCUT

Charlie is passed out when Azarov enters the room with a
smile on his face, almost like a sick routine.

AZAROV
(smiling)
Good morning, my friend. What
shall we play with today, hmm?

Azarov turns his back to face a table; Charlie, who was
actually playing possum, suddenly breaks his restraints.
Azarov reacts but Charlie grabs hims and throws him against
the wall. He grabs a dirty BALL HAMMER off the table and
slowly walks over to Azarov, who's petrified now:

CHARLIE
Let's try the hammer, Doc.

ANGLE ON Charlie who begins BASHING a screaming Azarov's
head in with brutal force as blood spatters on his face.

BACK TO SCENE

CHARLIE
Before I killed Azarov, I found
out that he was working for
Henderson. The same man
responsible for the deaths of some
friends of mine; good people who
had helped me survive.

ROXIE
(beat)
Well, I guess I'm not the only one
who wants to see John Henderson
dead.

CHARLIE
I don't want to just kill him,
Roxie. I want to destroy him!

HOPEWELL (OS)
(from comms.)
Guys, Amherst and his men just
arrived.

            ROXIE
      (into comms.)
Got it.
      (to Charlie)
C'mon.

103.

They leave the garden.

EXT. SHINJUKU PARK TOWER - ESTABLISH - MINUTES LATER

There is routine movement occurring outside the main
entrance as Roxie & Charlie enter this impressive structure.

INT. ELEVATOR - MOMENTS LATER

The two Products are the only ones inside the elevator; the
mood is tense as Charlie stares up at the LCD screen
displaying the floor numbers.

CLOSE ON - LCD SCREEN

The numbers change as the elevator quickly rises up to the
hotel floors: 40... 41... 42.. etc.

BACK TO SCENE

Roxie notices as Charlie's breathing starts getting a bit
heavy; she takes his hand in hers, trying to give him some
comfort. He gives it a soft squeeze in response.

It's not long until the elevator stops and the doors open,
revealing two enforcers waiting outside the restaurant
entrance, both armed with H&K MP5's.

INT. PARK HYATT TOKYO, NEW YORK GRILL

Charlie & Roxie step out of the elevator. The two guards pat
them down, taking their weapons away. The guards push them
further into the restaurant, which is devoid of patrons save
for several IceWing men posted around the room, and Amherst
& Henderson whom have a table all to themselves, having
drinks in silence.

AMHERST
(noticing)
Ahh, there she is! The prodigal
daughter returns! Come, sit.

POV FROM BINOCULARS

From across the way, we watch as the two guards force Roxie
& Charlie to sit at the table, practically jabbing them with
their weapons.

HOPEWELL (OS)
Alright, they just arrived at the
table.

104.

He swings his binoculars around, getting a closer view at
the weapons the IceWing men have: all automatic weapons.

HOPEWELL (OS)
(into comms.)
These guys aren't fucking around,
Captain. I see at least ten guards
posted up; all with MP-Fives. And
these kids are in there unarmed --

GORDON (OS)
(from comms.)
We stick to the plan, Hopewell.

EXT. ROOFTOP - SAME

Hopewell looks away from the binoculars, and at Kev:

HOPEWELL
You sure you know what you're
doing? We've only got one shot at
this.

KEV
(aiming rifle)
I got this...

HOPEWELL
Well, try not to hit Amherst -- we
need him alive.

KEV
Yep.

They continue observing the scene.

INT. PARK HYATT TOKYO, NEW YORK GRILL

Amherst seems very pleased as Roxie retains a blank
expression.

AMHERST
Roxie, how have you been?

ROXIE
(smart-aleck)
Oh, I'm just peachy, Trent.
Where's Charlene?

AMHERST
All in good time. Introduce me to
your friend.

105.

They both turn as they find Charlie staring down Henderson,
who also seems equally amused.

ROXIE
Charlie, this piece of shit is
Trent Amherst. Amherst, Charlie.
There, you've been introduced, now
gimme my kid back!

AMHERST
(chuckles)
Oh, I've missed your wit, Roxie.
Why did you leave us? We gave you
everything you could've ever
wanted -- food, shelter..

ROXIE
Oh yeah, it was a regular
sanctuary under the sea. What was
it that you called it, "Atlantis"?
Named after a lost city? Yeah,
like that was comforting.

AMHERST
But it was home.

ROXIE
I have a home!

POV FROM HOPEWELL'S BINOCULARS

He sees as Gordon enters with two plates of food.

BACK TO SCENE

Gordon sets the food down in front of Amherst & Henderson.

AMHERST
I hope you don't mind, but we went
ahead and ordered without you.

Gordon leaves, she gives a reassuring wink at the two
Products who look on as she walks away.

ROXIE
We want to see Charlene.

Henderson SNAPS his fingers, summoning one of the guards to
approach with a TABLET in hand. He turns it on before
setting it at the end of the table.

106.

INSERT - TABLET SCREEN

It shows real-time surveillance footage of Charlene in a
near-comatose state while the doctors continue extracting
her blood.

BACK TO SCENE

CHARLIE
What did you to do her...?

AMHERST
Don't worry, she's in good hands.
For now.

ROXIE
What do you plan to do with her,
you sick son of a bitch!?

AMHERST
Actually, we need your help in
controlling her.

ROXIE
"Control her"? Why the hell would
I help you do that?

AMHERST
Charlene is a very important piece
to a much larger picture, just
like you are. But we now find
ourselves at a standstill; you
see, it's become clear that for us
to further our plans, everyone
needs to be on the same page...

Charlie continues staring down Henderson, muttering to
himself as Amherst keeps talking:

CHARLIE
(under his breath)
Six months in that prison...

AMHERST (cont'd)
Your daughter is a rare breed; the
first child conceived between two
extraordinary subjects. Her
abilities are far beyond anyone's
wildest dreams! However, they also
make her very dangerous and
uncontrollable.

107.

CHARLIE (cont'd)
(under his breath)
Katya... Anatoly... Pietro... all
murdered....

AMHERST (cont'd)
Roxie, we don't need to fight
anymore; we can work together and
achieve great things! Please, come
back and help us keep Charlene
under control. We can guarantee
her safety, even yours, but only
if you cooperate. What do you say?

Roxie is taken aback a bit by that last line.

ROXIE
Amherst, didn't anyone ever tell
you...?

CHARLIE
(to Henderson)
You don't fuck with someone's
family!!

And with that, it's on! Charlie quickly FLIPS the table
over. BULLETS START FLYING as everyone ducks down.

EXT. ROOFTOPS - CONTINUOUS

Kev starts firing shots, providing cover fire.

INT. PARK HYATT TOKYO, NEW YORK GRILL

Down on the ground, Roxie takes cover behind a table as
Charlie grabs a STEAK KNIFE from another nearby table and
SPRINTS towards Henderson, attempting a JUMPING BACK KICK
which Henderson dodges. As Charlie recovers, Henderson
unsheathes a COMBAT KNIFE:

HENDERSON
You just don't know how to die, do
you boy!?

CHARLIE
I'm gonna take your other eye, and
keep it as a fuckin' trophy!

They get into a KNIFE FIGHT, blocking and parrying each
other's moves. It's impressive the speed Henderson shows
when he catches Charlie off-guard with a hook. Charlie reels
from the punch, as if he's been hit much harder than

108.

expected. He quickly reacts, blocking a potentially-fatal
blow from Henderson.

Gordon quickly emerges from the back, firing at the IceWing
mercs from behind cover with a SIG SG 552 COMMANDO CARBINE
RIFLE, taking down two of the men.

GORDON
Roxie -- !!

ROXIE
I'm on it!!

Roxie notices one of the mercs trying to escort Amherst out
of the skirmish; she HURLS a plate at the merc, shattering
it over his head. Amherst reacts and turns, just in time to
see find Roxie TACKLING him to the ground. With Amherst in a
daze, she takes advantage of the moment to grab the nearby
merc's weapon -- helping out Gordon who's pinned behind
cover.

Charlie & Henderson continue fighting furiously, eventually
losing their knives and resuming a fist-fight as Roxie drags
Amherst to the kitchen while firing at the mercs.

EXT. ROOFTOP - SAME

Kev dispenses empty shell casings from his bolt action rifle
as fast as he fires his shots. Hopewell joins in with an FN
SCAR ASSAULT RIFLE, providing support fire.

INT. PARK HYATT TOKYO, NEW YORK GRILL

Roxie continues dragging Amherst across the ground, and
under the gunfire, eventually reaching Gordon before her
weapon runs out. More mercs arrive.

ROXIE
I'm out!

They duck behind cover. As Gordon reloads her weapon, she
reaches into her back holster and hands Roxie a GLOCK 17.

ROXIE
Get him out of here, I'm gonna go
help Charlie!

GORDON
Roxie, no -- that's suicide!

ROXIE
I'm not leaving him behind!

109.

Roxie starts firing at the mercs, some of whom have their
attention turned to Kev & Hopewell across the way. With the
crowd starting to thin, Charlie is starting to get the
upper-hand on Henderson, who doesn't seem to go down easily.
One merc quickly grabs Charlie from behind; Charlie kicks
Henderson away and the other merc is quickly picked off by
sniper fire.

Charlie nods, acknowledging his savior.

EXT. ROOFTOP - SAME

Kev nods in return.

GORDON (OS)
(from comms.)
I have the package. We're
extracting now.

            HOPEWELL
      (into comms.)
Copy that.
      (to Kev)
We gotta go!

INT. PARK HYATT TOKYO, NEW YORK GRILL

As Charlie turns, Henderson suddenly wraps his hands around
his throat -- lifting our hero up as he begins to STRANGLE
HIM.

EXT. ROOFTOP - SAME

Kev & Hopewell start putting on what looks like PARACHUTES:

HOPEWELL
You ever done this before?

KEV
Base jump? No...

HOPEWELL
Shit, me neither!

They both run and LEAP off the roof, pulling the ripcord a
few moments later and releasing their parachutes.

INT. PARK HYATT TOKYO, NEW YORK GRILL

Most of the mercs in the room have been taken out. As
Charlie begins to lose consciousness, Henderson is suddenly
shot twice from behind. He and Charlie both fall to the
floor; Roxie, pistol in hand, runs over and helps Charlie up

110.

as another group of mercs begin to arrive, this time led by
Gates.

ROXIE
We gotta go!

Charlie sees the mercs; he suddenly grabs her hand and they
both run back to the kitchen. The mercs chase after them.

INT. KITCHEN

Charlie quickly moves a nearby STORAGE CABINET in front of
the door, blocking it. We hear BANGING from the men outside
trying to shove it open. He looks around:

ROXIE
Talk to me, Charlie -- what're you
thinkin'?

CHARLIE
We gotta jump! Look around, Gordon
should've left us a parachute.

They quickly search around the kitchen, looking around
through large bins and cabinets until Roxie pulls out a
single PARACHUTE out of a trash bin.

ROXIE
Found it! But there's only one...

CHARLIE
It's gonna have to do -- c'mon!

Parachute in tow, they run out through the backdoor.

EXT. STREETS - CONTINUOUS

Gordon is at the wheel of a large PICK-UP TRUCK with a bound
Amherst in the passenger's seat. She speeds down the street
as Hopewell & Kev parachute down from their sniper's nest.

It's a complicated and albeit dangerous stunt as both men
sail down and soon land in the pick up bed of the moving
vehicle. Hopewell bangs twice on the hood on the truck,
signaling for Gordon to take off.

INT. KITCHEN - CONTINUOUS

The door and table are blown out of the way. Gates, holding
a automatic rifle with a grenade launcher, emerges through
the hole with 2 other men. He looks around:

111.

GATES
(to other men)
Get the boss and head out, getting
Amherst back is top priority!

The men nod then leave; Gate continues pursuing the others,
following their way out.

EXT. ROOFTOP

Charlie & Roxie burst through the door.

CHARLIE
(re: parachute)
Alright, so how do we do this -- I
put this thing on then you grab
onto me, or what?

ROXIE
What -- how the hell should I
know!?

CHARLIE
You've never done this before?!

ROXIE
Do I look the kind of the girl
that would do this kind of shit!?
Just put it on! Hurry!!

Charlie fumbles as he rushes to put the parachute on.

INT. STAIRWELLS - SAME

Gates rushes his way up the stairs.

EXT. ROOFTOP

Charlie finishes putting the parachute on. He walks over to
the edge of the roof then looks over and steps back,
nervous.

ROXIE
(nervous)
Could be worse, right?

They hold hands and step on the guard rail just as Gates
emerges through the door. Roxie looks back.

ROXIE
Go!

112.

Gates watches as they jump. Roxie grabs onto Charlie --
practically wrapping her body around his -- as he pulls the
ripcord, and releases the parachute.

ANGLE ON the pedestrians down below who notice Charlie
steering the parachute as he and Roxie make their descent.

Gates takes aim and starts taking pot shots at the heroes.

ROXIE
(noticing)
He's shooting at us!

Charlie tries his best to steer the parachute. Meanwhile
Gates continues firing down, a few missed shots later and
two bullets RIP through the parachute; Charlie loses control
of the descent:

CHARLIE
(noticing)
Shit!

Roxie & Charlie fall fast, landing hard on the roof of an
oncoming BUS. They duck as Gates continues raining hell,
eventually emptying his clip. Hanging on to the bus, Roxie &
Charlie breathe a sigh of relief as they leave the scene;
Gates watches them.

GATES
(into comms.)
This is Bravo Leader... they got
away.

Gates heads back inside as he reloads his weapon.

INT. PARK HYATT TOKYO, NEW YORK GRILL

As Gates returns to the now-decimated restaurant, he finds
Henderson surrounded with the remaining troops -- all still
reeling from their defeat.

GATES
We lost Amherst.

HENDERSON
No...

Henderson reaches into his pocket and pulls out an
electronic device the size of a smartphone -- a sort of
RADAR TRACKER. With the push of a button, we see a small map
on the screen with a blinking dot.

113.

HENDERSON (cont'd)
I put a homing device on Amherst
earlier today. We'll find him.

GATES
Okay, so what's the plan then?

HENDERSON
Those two don't know what they've
just started. They want the girl?
Fine. Then that's what they'll
get. Let's go.

They leave the restaurant.

EXT. TRAIN YARD - ESTABLISH - LATER

Its more of a train cemetery that we're looking at in the
early hours of the evening as the sun is setting in the
background. There are several kinds of train cars that we
see ranging from old world boxcars to the more modern train
cars belonging to bullet trains that have been taken out of
commission.

EXT. BOXCAR

Kev is the only person sitting outside a boxcar with a
pistol in his hand. Sensing a presence, he quickly aims to
the side until he sees Roxie & Charlie approaching.

ROXIE
(raising hands)
Chill, Kev, its just us.

KEV
You made it.

ROXIE
Yeah, barely. Where's Amherst?

KEV
(points to boxcar)
I think they're working him
over...

ROXIE
Mind if I go in?

He moves out of the way as Roxie opens the door and heads
inside.

114.

KEV
(to Charlie)
You okay?

CHARLIE
(nods)
'Few bumps, but I'll live.

KEV
No, I mean, are you okay...
(points to temple)
... in here?

Charlie doesn't know how to respond.

KEV (cont'd)
Look, Charlie, I don't know you,
and for that I won't judge you.
But Hopewell and I, we heard you
over the comms, muttering to
yourself. He explained to me that
they found you at some prison, all
fucked in the head. And look I get
it -- everyone has their demons.
But if we're gonna find this girl?
We'll need you focused.

CHARLIE
You don't need to worry about me.
I'm fine.

KEV
(beat)
Okay.

INT. BOXCAR

The interior of the boxcar is the opposite of its
dilapidated exterior -- with its HIGH-TECH SURVEILLANCE
EQUIPMENT AND COMPUTERS inside. Amherst is currently
handcuffed to a chair; Hopewell & Roxie stand off to the
side, watching as Gordon proceeds with an impromptu
interrogation:

GORDON
Mister Amherst, I hope you know
that the more you stall on us, the
darker your future starts to seem.
We know you're working with John
Henderson, which makes you a
likely accomplice.

115.

AMHERST
Accomplice to what?

HOPEWELL
His crimes.

AMHERST
(taken aback)
What crimes?

HOPEWELL
(matter-of-fact)
Oh, you know: kidnapping, human
trafficking, murder -- the
standards of a typical war
criminal, really.

AMHERST
(scoffs)
"Murder". That's a bold accusation
coming from another soldier.

GORDON
There's a line between a casualty
of war and cold-blooded murder.
But then again, I wouldn't expect
a privileged man such as yourself
to understand that. So tell us,
where is he keeping the girl?

AMHERST
(chuckles)
You take one look at me, and you
see a criminal. A coward. Is that
it? Don't let the suit fool you,
we're no different.

HOPEWELL
For all we know, you could just be
a well-dressed killer.

AMHERST
Yet I've never held a gun in my
life!

HOPEWELL
Money's a powerful incentive.

GORDON
Where is Henderson keeping the
girl?

116.

AMHERST
(beat)
This was never part of the plan,
you know. All this bloodshed and
mayhem. I just want to change the
world.

Charlie opens the door and enters. He walks over to Roxie &
Hopewell -- exchanging glares with Amherst along the way.

CHARLIE
(whispering)
Anything?

HOPEWELL
(whispering)
Nothing yet. He's trying to play
games with us.

Charlie sighs as he watches the interrogation.

EXT. GRIFFIN CORP. HEADQUARTERS - MINUTES LATER

The sun is down as we see an overhead shot of the building.

INT. UNDERGROUND FACILITIES

Henderson walks with a determination, down a long white
hallway, flanked by four mercenaries. Moments later, he
arrives at a door being guarded by 2 mercenaries, one of
whom is Gates.

HENDERSON'S POV

He looks through a small window on the door and into what
appears to be some sort of a HOLDING CELL. Inside is
Charlene, tied to a chair and with a BLACK BAG over her
head. Also inside the cell are 4 more mercenaries with
automatic weapons pointed at her. It's a very unsettling
scene.

BACK TO SCENE

HENDERSON
(to Gates)
Any trouble?

GATES
No, sir.

Henderson nods as he enters the room alone.

117.

INT. BOXCAR - SAME

As the interrogation continues, Charlie walks over to the
gun rack, noticing a STRANGE-LOOKING RIFLE. He turns to
Hopewell:

CHARLIE
(pointing out)
Lieutenant? What's this?

            HOPEWELL
      (walks over)
Oh, we call that the "tracer
rifle."
      (grabs it)
It's an experimental rifle the
military has been developing for a
while now. Non-lethal.

He picks up a CARTRIDGE off the table -- it looks a bit
thicker than a standard rifle bullet.

HOPEWELL (cont'd)
This is the cartridge it fires;
can only be fired one at a time.
From what I'm told it has a small
tracking device inside, and a
special adhesive gel that
activates the device once it
sticks to a surface. It sticks to
almost any surface but dissolves
after twelve hours.

CHARLIE
What's the range on it?

HOPEWELL
(shrugs)
Theoretically, about thirty
meters. But we haven't had much
time to test it ourselves.

Hopewell sets the rifle back down.

CHARLIE
Alright, well it looks like you
guys have it covered in here. If
it's alright with you, I think
I'll head back outside.
Interrogations don't really sit
well with me.

118.

HOPEWELL
(nods)
Sure.

Charlie leaves.

INT. HOLDING CELL - SAME

Henderson sits in a chair in front of Charlene. He looks up
and nods to a merc behind her who then pulls the bag off her
head. She still seems weakened and frightened.

HENDERSON
You must forgive the theatrics,
Love, but you are an essential
component to this little plot of
ours.

CHARLENE
Why... why are you doing this...?

            HENDERSON
Because you're special, Charlene.
Your blood is special. Akin to an
elixir of life. Do you know what
that means?
      (she shakes her
       head)
It means your blood enhances us.
More importantly, it helps someone
like me stay alive.

CHARLENE
W-Why you...?

HENDERSON
Because I am like you. A Product.

Charlene is confused at the term.

INT. BOXCAR - SAME

Gordon stands in front of Amherst with her arms crossed:

GORDON
You said you wanted to "change the
world". What do you mean by that?

AMHERST
Imagine you had the answer to the
most difficult scenarios presented
by modern medical science. A cure
to even the most incurable of
diseases. A key to humanity
(MORE)

119.

AMHERST (cont'd)
itself. After Roxie's escapades in
Metro City eighteen months ago,
society's most heavily-guarded
secret had been revealed.

ROXIE
You mean Project Diamond?

AMHERST
It was supposed to be much more
than that, really. Astor and I
weren't always in agreement on
things; he wanted to work towards
war profiteering and I wanted to
save lives.

ROXIE
So, you wanted to play God and
Astor was the Devil?

AMHERST
If you wish to see things so black
and white. But your actions, so
extreme as they were, also led to
media scrutiny. And with the media
comes questions, and if you don't
answer their questions, it leads
to digging. And well, you can only
pay off so many people before
someone threatens to kick the door
in.

INT. HOLDING CELL - SAME

On the other side of things, Henderson continues speaking to
Charlene.

            HENDERSON
"Product".
      (scoffs)
I hate that term. It makes us
sound so cheap. We're another step
in evolution. "Hyper-Sapien"
sounds so much more appropriate.
      (smiling)
After all, we are evolving into
something greater anyway!

CHARLENE
Why do you need my blood?

120.

HENDERSON
Because I'm one of the original
Hyper-Sapiens. I volunteered to be
one at a young age. But with every
experiment, there are
complications and sometimes
failures. Every few days, I grow
weak and I need fresh blood to
keep me going. So, before I head
out to the field, I have to keep a
supply of my own blood in stock,
just in case I need it.

CHARLENE
That's gross!

HENDERSON
Yeah? Well, I'm not a doctor.
However, you are a unique kind of
Hyper-Sapien -- you were born that
way. And for us, your blood is
similar to a performance enhancer.

INT. BOXCAR - SAME

The interrogation continues.

AMHERST
If you've been keeping up with the
news, you would know that this
whole situation has gotten
everyone's attention.

HOPEWELL
How does Charlene figure into this
plan of yours?

AMHERST
(scoffs)
Please, I don't have to tell you
anything else; release me already,
I'm due at a press conference in
twenty-four hours!

Out of frustration, Roxie suddenly PUNCHES him in the face.

ROXIE
I don't give a shit where you have
to be; answer the goddamn
question!

Amherst spits blood.

121.

AMHERST
Okay! Charlene's blood is helping
keep Henderson and his men alive.
Her blood cells regenerate at such
a high rate that it doubles their
strength; heightens their senses
almost beyond your abilities.

ROXIE
Why them?

AMHERST
Don't be so naive! Hasn't it been
obvious? You, Henderson, the rest
of Ice Wing -- you're all cut from
the same cloth.

ROXIE
They're Products?

AMHERST
Exactly!

ROXIE
I've seen Henderson die once
before, and now he's alive. How?

AMHERST
You know, I'm not entirely sure I
should answer any more questions.
After all, you do owe us.

HOPEWELL
What do you mean "owe you"?

AMHERST
When Roxie was suddenly due to
give birth, we performed a
C-section. During the procedure,
we had discovered a small
explosive device implanted near
her womb. Had we not taken it out,
there's no telling when it
could've detonated.
(to Roxie)
So, in a way, you owe Griffin
Corporation your life.

Roxie, surprised to hear all this, turns her back to him -
wanting to process the information for a moment.

122.

AMHERST (cont'd)
As for Henderson, I'm not entirely
sure what he is. His files are all
classified and date back to the
Cold War.

HOPEWELL
Captain, if this is true... that
would make Henderson over sixty or
seventy years old.

ROXIE
(turns back)
So does this mean Henderson is an
original Product? Is that what
we're dealing with here?

AMHERST
It's quite possible.

Roxie, Hopewell and Gordon all glance at each other in
response.

INT. HOLDING CELL - SAME

The dialogue between Henderson and Charlene continues:

HENDERSON
You're going to carry out a
mission for me. You're going to
help me find your friends and get
my boss back.

CHARLENE
What if I don't want to?

Henderson nods to another soldier behind her. Charlene tries
to resist as she is fitted with a COLLAR with a small
electronic device on it. Henderson holds his hand out as he
is given a small REMOTE.

CHARLENE
What - what is this? AAH -- !

With a press of a button on the remote, Henderson suddenly
SHOCKS HER. Charlene reels from the electric volt running
through her body. She pants as she recovers.

            HENDERSON
      (chuckles)
Ooh! Are you okay? That must've
been a nasty little shock. As I
was saying: you're going to help
me find Amherst. You're going to
            (MORE)

123.

HENDERSON (cont'd)
obey my orders, and if you don't,
fifty-thousand volts will surge
through your body.

As she gets angry, Charlene's pupils start to white over as
she attempts to use her telekinetic powers. However,
Henderson shocks her again, stopping her.

HENDERSON (cont'd)
Oh yeah, that includes using your
powers against us too. Are we
clear?

Scared, she slowly nods.

HENDERSON
Good.
(to mercs)
Let's move out.

Henderson gets up and leaves; the mercs untie Charlene from
her chair then grab her by the arms and escort her out.

EXT. TRAIN YARD - NIGHT

It's starting to get darker outside.

EXT. BOXCAR

Kev & Charlie are still sitting outside. Given the passage
of time, Kev has understandably fallen asleep while Charlie
stays awake and keeps watch.

INT. BOXCAR

Amherst is sitting alone, staring down at his feet meanwhile
Gordon, Hopewell & Roxie are on the opposite end of the car,
whispering amongst themselves.

GORDON
(whispering)
Roxie, did you know any of this?
Anything that could help us?

            ROXIE
No. I mean, his people would take
my blood twice a day, forced me to
take these tests -- drugged me!
But I had no idea what they were
trying to do. I mean...
      (sigh)
I really thought they were trying
            (MORE)

124.

ROXIE (cont'd)
to help me at first, not use me.

AMHERST
You have to understand, Roxie,
that my intentions -- my company's
intentions -- were all for the
greater good. We found out,
through all those tests, that you
and every other one of your kind
are slowly dying. It didn't matter
whether you were considered a
success or a failure, the original
serums were all flawed; we just
couldn't pinpoint the flaws until
now. Every time you used your
abilities, you may as well have
been putting a loaded gun to your
mouth. Charlene is the key to your
survival. The only chance you
have.

ROXIE
So why tell us all this? What
happened to your "pursuit of
power"?

AMHERST
Those were just lines from a
script! There are Ice Wing men
watching my family back in London.
Henderson is not my bodyguard,
he's there to kill me; and If I
don't help him, he will!

ROXIE
Help him do what?

AMHERST
He wants to use Charlene's blood
to create a mutagen and disperse
it unto normal humans. He wants to
play God and force evolution, but
it'll be like giving mankind a
lethal injection!

HOPEWELL
(beat)
This is beyond our control,
Captain. We should call in the
cavalry.

125.

GORDON
No, not yet. Not until we know
everything.

EXT. BOXCAR - CONTINUOUS

Charlie slowly sits up, as if reacting to something.

INT. BOXCAR - CONTINUOUS

As Gordon turns her back, thinking things over, Hopewell
walks up to her:

HOPEWELL
What do you mean "until we know
everything?" I think that's a
pretty big fuckin' bombshell he
just dropped on us!

GORDON
Need I remind you that you are
speaking to a superior officer,
Lieutenant!?

EXT. BOXCAR - CONTINUOUS

Sensing a presence, Charlie hits Kev on the leg, waking him
up.

CHARLIE
Kev, get up.

KEV
(sleepily)
Huh? What, what's up?

CHARLIE
I don't think we're alone.

KEV
You're hearing things man. Let me
sleep.

CHARLIE
(grabbing his arm)
No, get up. Let's go check.

Charlie grabs him and they stand up. They check their
weapons then walk off.

INT. BOXCAR - CONTINUOUS

Amherst watches as Hopewell & Gordon continue arguing.

126.

HOPEWELL
Are you seriously pulling rank
right now?! This is bigger than
us; we can't stop this on our own
- even with the help of two
Products!

GORDON
I'm not interested in heroics,
Hopewell, I'm interested in the
mission! Until we've gathered all
the facts, we're not making any
moves!

HOPEWELL
Oh, fuck that!

EXT. TRAIN YARD - CONTINUOUS

Kev & Charlie continue jogging down an aisle of train cars
when they suddenly run into a group of Ice Wing mercs.

KEV
Oh shit -- GO, GO!!

A firefight ensues as the two heroes run back the opposite
way, eventually getting cut off by a HUMVEE that CRASHES
through a fence.

CHARLIE
SPLIT UP!!

They split up, Charlie taking the high road and Kev going
the low route, fighting any mercenary on their way back to
base.

INT. BOXCAR - CONTINUOUS

As Hopewell & Gordon continue arguing, Roxie notices the
faint sound of gunfire coming from outside.

ROXIE
(listening)
Shut up!! Do you guys hear
that...?

She crosses over to the door and opens it.

EXT. BOXCAR

ANGLE ON Roxie from far and high above as she opens the
boxcar door. She looks up, startled:

127.

ROXIE
Oh shit!

INT. MILITARY HELICOPTER

Your standard military helicopter flies over the train yard.
Inside, Henderson takes off what appears to be a pair of
THERMAL GOGGLES as he aims down a ROCKET LAUNCHER. Charlene
is sitting next to him, still wearing the shock collar like
some kind of dog.

HENDERSON
(grinning)
Hello, Love...

He fires the rocket.

INT. BOXCAR

Roxie turns towards her allies before diving to the floor:

ROXIE
GET DOWN!!!

The rest have little time to react as the explosion knocks
everyone else against the wall when the rocket hits the
door.

EXT. TRAIN YARD

Kev fights his way through dozens of mercenaries, taking
them down through either gunfire or hand to hand combat. He
work through each enemy using an impressive display of
lightning-quick moves. At one point, he runs into a small
group of mercenaries when his pistol runs out of ammo. They
surround Kev as he raises his hands, expecting the end.

Charlie jumps down from a train car, landing behind one of
the mercs; he snaps the merc's neck then disarms and takes
down the next guy in one deft move before Kev joins in to
take down the rest.

KEV
(thinking aloud)
I guess we're even.

Charlie grabs two of the fallen mercs' assault rifles,
tossing Kev one before they continue.

INT. BOXCAR

A huge hole replaces where the door has been blown off.
Gordon crawls over to Amherst as he slowly recovers.

128.

AMHERST
Release me -- I don't want to
die!!

GORDON
Shut up!

HOPEWELL
Roxie!

He crosses over to the armory, tossing her an assault rifle
before grabbing his own. Roxie checks the weapon then heads
out front.

HOPEWELL
(to Gordon)
We have to get him out of here!

GORDON
Secure the area first!

EXT. BOXCAR

Hopewell joins Roxie as they fire off rounds at Henderson's
chopper.

INT. MILITARY HELICOPTER - SAME

Henderson reacts and ducks under the gunfire.

HENDERSON
(to pilot)
Take 'er around!

EXT. TRAIN YARD

Roxie & Hopewell watch as the helicopter doubles back
around.

HOPEWELL
Where the hell are Charlie and
Kev?!

ROXIE
I dunno but that was Henderson in
that chopper; and if he comes back
around, we're fucked!

Elsewhere in the train yard, Kev & Charlie continue fighting
their way back to the boxcar when they run into Gates'
group. Kev & Charlie stop a few yards away from them,
anticipating a move to be made. One of Gates' men suddenly

129.

starts shooting their weapons at them; our heroes fire back
at them, running in a different direction.

Eventually they run in the direction of Henderson's
helicopter, who is now using Charlene as his weapon; Charlie
stops at the sight of this, as if to process what he's
seeing when Charlene suddenly starts HURLING ENERGY BALLS in
their direction.

KEV
Get down!!

Kev quickly pulls Charlie to the ground and out of harm's
way. They get up as the helicopter flies past. Charlene is
RAINING DOWN HELL on the train yard as the helicopter
strafes by; Henderson watches in delight as random train
cars are blown up.

A frustrated Charlie takes aim at the helicopter when Kev
suddenly shoves his weapon down:

KEV
Charlie, no! That's your daughter
in there, man! We have to get back
to the group. C'mon.

They continue running, showing signs of fatigue this time.

EXT. BOXCAR

ROXIE'S POV

She sees as the helicopter approaches, with her daughter
raining destruction, killing anyone in it's path.

BACK TO SCENE

Roxie is pissed to say the least as she quickly heads back
into the boxcar.

INT. BOXCAR

Amherst is off the chair, still handcuffed as Gordon grabs
him by the arm.

HOPEWELL
(grabbing ammo)
Our car's just a few yards behind
us. I say we make a run for it!

GORDON
Yes!

130.

ROXIE
What about Kev and Charlie?!

GORDON
There's no time! Go!

With Amherst in tow, Gordon & Hopewell rush out. Knowing she
has no other choice, a frustrated Roxie follows behind.

EXT. BOXCAR

The group runs as the helicopter chases after them with a
SPOTLIGHT beaming down; they dodge and duck as Charlene
continues hurling more energy balls. Roxie's group gets
close to their pickup truck when Charlene suddenly blows it
up. With no exit strategy left, they find themselves
surrounded by mercenaries.

On their side of things, Kev & Charlie battle their way
through more mercs, getting closer to their group. They
almost reach them but Kev pulls Charlie back:

CHARLIE
'The hell are you doing -- ?!

KEV
(whispering)
Shh! Look...

Kev points, noticing that Gates and his small group walk up
to Roxie & Co. who drop their guns as Henderson's helicopter
lands close by; Henderson steps out, bringing an exhausted
Charlene along with him.

KEV (cont'd)
Hide. Let's see where this goes.

They take cover under a train car and watch the action
unfold:

HENDERSON
Was that your car?
(chuckles)
Sorry 'bout that. Quite frankly,
Roxie, I'm getting sick and
fucking tired of chasing you
around this city!

ROXIE
Blow me!

131.

            HENDERSON
      (sarcastically)
Cute.
      (beat)
So, are you gonna hand him over or
are you waiting for me to ask
nicely?

Roxie and Hopewell react in surprise when they realize he's
addressing Gordon, who simply walks Amherst over to the
mercenaries.

HOPEWELL
Gordon?!

GORDON
Like I said earlier, Lieutenant,
it's all about the mission. And I
had mine to see through.

CHARLIE & KEV'S POV

They watch the conversation taking place from a safe
distance.

BACK TO SCENE

KEV
Why would she give up Amherst?

CHARLIE
(shaking his head)
I dunno...

Back with the main group, Roxie looks over at her daughter
who looks like she doesn't even know where she is at the
moment.

ROXIE
Charlene? Charlene, baby, look at
me...

Roxie gets no response as Charlene fearfully ignores her,
almost like a scared dog.

ROXIE
What the hell did you do to her,
Henderson!?

HENDERSON
Oh, let's just say Charlene won't
have any trouble behaving for the
foreseeable future.

132.

HOPEWELL
Why are you doing this, Gordon?!
What happened to seeking justice!?

GORDON
This is justice! I was one of
these things, these "Products"! A
"Defect" is what they called me. I
didn't develop any powers so they
left me for dead in a ditch until
Colonel Henderson found me and
took me in. I wanted to get back
at the bastards who took my life
from me, and Colonel Henderson
showed me a way. With Charlene's
blood enhancing us, we can
jump-start the next step in
evolution, and take out anyone who
opposes us.

HOPEWELL
But you're talking about killing
innocent people -- !

GORDON
Just like everyone else those
scientists had killed!!

HOPEWELL
(beat)
I can't let you do this... I
won't!

Hopewell rushes towards Gordon, grabbing her but she quickly
draws her pistol and shoots him in the stomach. She watches
as he reacts to being shot, slowly falling to the floor.

Kev & Charlie watch in shock as Hopewell lays dying on the
ground. Charlie tries to rush in but Kev grabs him,
restraining him.

GORDON
It's too bad, Marcus. I really
liked you.

Roxie attempts to make a move but finds a multitude of guns
stopping her in her tracks:

GORDON
Ah-ah! You, get in the chopper.

Roxie just stares back in response until Gordon walks over
and presses her gun to Charlene's temple.

133.

GORDON (cont'd)
Don't make me say it again!

Roxie reluctantly walks over and boards the helicopter.
Gordon forces Charlene onto it next as Gates walks over to
Henderson.

GATES
No signs of the other two, sir.
Must've been killed in the
explosion.

HENDERSON
Good. Alright, everyone! Let's go
before the cops arrive!

Everyone starts heading towards their respective vehicles as
they begin to leave the scene. Charlie quickly sprints
towards the boxcar as Kev heads over to Hopewell's body.
Moments later, Charlie emerges from the boxcar with the
tracer gun; he quickly chases after the helicopter, climbing
on top of a nearby train car and taking aim:

CHARLIE
(thinking aloud)
I won't lose you again...!

He fires and the TRACKER sticks onto the tail of the
helicopter; Charlie watches as it flies away. He quickly
heads back to Kev, who's clutching Hopewell's hand just as
he dies. Kev looks up at Charlie, slowly shaking his head;
Charlie acknowledges.

CHARLIE
(throws rifle)
Dammit!!

OLIVIA (OS)
What the hell did you boys do?

Kev & Charlie spin around, aiming their pistols at Olivia
who's flanked by two bodyguards who aim back as she walks
over.

KEV
Olivia? 'The hell are you doing
here?

OLIVIA
I had my guys keep tabs on you
ever since we spoke.
(to bodyguards)
It's okay, stand down.

134.

The bodyguards, Kev & Charlie all holster their weapons.

KEV
You should leave.

OLIVIA
Actually, Kev, it looks like you
could use my help.
(to Charlie)
Hi, I'm Olivia Dawes.

Charlie can't help but react to that name as she extends her
hand for a shake. He obliges.

CHARLIE
Charlie... Charlie Warner.

KEV
Why would you help us? I thought
you hated Roxie.

OLIVIA
Yeah, well, family should help
each other -- no matter the cost.

KEV
(taken-aback)
"Family"?

CHARLIE
(looking at her)
She's a F.R.O.G. You're related to
Lincoln Dawes?

OLIVIA
He was my brother. And no, I'm not
a F.R.O.G. Never was.

KEV
Well, in case none of you caught
on, a helicopter just took her and
Charlene, and we don't know where!

CHARLIE
Not true.
(shows tracker)
I just planted a bug on the
chopper. We have twelve hours
until we lose the signal.

OLIVIA
Then, we better get started. Let's
go.

135.

Olivia and her bodyguards start walking away. Kev turns to
Charlie.

KEV
So, what's the plan?

            CHARLIE
      (looking towards
       helicopter)
Henderson wants a war...
      (looks at Kev)
... So, we're gonna give him one.

Kev likes the sound of that as he and Charlie bumps fists
then follow behind Olivia.

TO BE CONTINUED

THE END

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