SOULLESS by Gbolahan Akitunde

@nawwwab gbollzee@gmail.com 234-8027651293

EXT. DALLAS, TEXAS - SHEPHERD RESIDENCE - MORNING An enclosed premises with an asphalted pathway snaking up the front doorstep of a hilly white structure in glowing yellow lights. INT. SHEPHERD RESIDENCE - KITCHEN DR. SHANDRA SHEPHERD, an orphans dream mother, not literally though, serves a bowl of cereal on the island where her six-year old son, WESLEY, is seated. He has blue eyes. And hes black. SHANDRA ... A ring? She sits across him. Paying the utmost attention. He places his WATER GUN down to dig into the bowl. WESLEY Not any ring, mom. A gold ring. Like the one Uncle Tom gave you. SHANDRA There someone youre proposing to, young man? WESLEY (Defensively) No! SHANDRA Mind telling me what its for then? WESLEY Nothing! I cant discuss it. I can only talk to Uncle Tom about it. Its a guy thing. SHANDRA (Feigning annoyance) What do you mean its a guy thing? You want me to get your girlfriend a shiny gold ring but youre not gonna -WESLEY (Agitated) I never said it was for my girlfriend!

(CONTINUED)

CONTINUED:

2.

SHANDRA Aha! So you do have a girlfriend. WESLEY (Shaking his small head) Mom, youre so pushy. You should have been an integ-a-rator. SHANDRA (Laughs) Interrogator. And by pushy, do you mean... (Nudging him) This? The boy loses balance and falls off the stool. SHANDRA Wesley? Her heart in her lung, she rushes off her seat and around the island to see what shes done. Wesley, on the floor, snaps his eyes open. WESLEY Im okay! SHANDRA (Relieved) I almost died. He starts giggling. An infectious giggle that gets Shandra laughing at herself as well. But Wesley clocks --- A tiny hole in the ceiling. SHANDRA (O.S)(CONTD) Now, come on. Youll get your clothes dirty. Has that always been there before?

3.

INT. SHEPHERD RESIDENCE - STUDY - LATER Shandra, in a corner of the room, decanting some whiskey into a glass cup -DR. EARL-TALLEY (O.S) So, youre getting married. Shandra departs from the wine section to hand the drink to her guest, DR. EARL-TALLEY. 40s. Black. Botox-face and a gap-tooth. He appears unsettled as he collects the cup with a purple gloved-hand. Referring to her gold ring, she flutters her fingers. SHANDRA Thats what it says. She settles into a plush bright sofa facing Dr. Earl-Talley. DR. EARL-TALLEY Still to Tom, I presume. SHANDRA (Beat) This isnt a friendly visit. Is it, Gerald? DR. EARL-TALLEY Does it matter? Weve known each other approximately twenty-five years now, Shandra. We always have something to talk about. Can that ever be the case with Tom? SHANDRA That... is left to us. DR. EARL-TALLEY Left to you, or left to chance? Youve always been a logical thinker, Shandra... But flushing everything weve worked so hard for all these years down the sewer over some nosy-parker you got acquainted with barely a few months past, isnt exactly logic-inspired! SHANDRA I have my reasons. And Im not flushing anything down any drain because he is not going to know.

(CONTINUED)

CONTINUED: DR. EARL-TALLEY Hes a journalist, for Chrissake, Shandra. Stumbling upon things is part of their job description. Your union is on the threshold of becoming a guarantee that he -WESLEY (O.S) Mom! Wesley scampering to Shandras side. SHANDRA Baby, Uncle Gerald and I were in the middle of a conversation. WESLEY Sorry, Uncle Gerald.

4.

Dr. Earl-Talley, having slipped one hand into his peacoats inner breast pocket, catches himself -DR. EARL-TALLEY Oh, thats quite alright, Wesley -WESLEY (Petulantly) Mom, when are we going to Uncle Toms house? SHANDRA Youve asked me that four times now, Wesley. And each time you did, what answer did I give? WESLEY (Reluctantly) You said, "later in the evening?" SHANDRA Is it evening yet? WESLEY But why cant we go now?! Uncle Gerald can come with us. I wanna talk to Uncle Tom about the ring. SHANDRA Wesley, you hassle me about this one more time and thats it. Now go to your room. Wesley scowls, grunts and storms off.

(CONTINUED)

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5.

SHANDRA (CONTD) (To Dr. Earl-Talley) Hes in love with Tom. Im not gonna be the one to take a second father away from him. Dr. Earl-Talley downs the untouched whiskey in his hand in one swig and sets it down on a nearby glass table. DR. EARL-TALLEY (Visibly nervous) I understand. SHANDRA Gerald, are you okay? DR. EARL-TALLEY Dolores was going to get rid of you but I pleaded with her to allow me change your mind or I would myself. SHANDRA Im a founding partner, Gerald. Go back and tell the bitch its impossible. Dr. Earl-Talley rises from his seat. Starts approaching her. DR. EARL-TALLEY That was not... what she meant. Off a worried Shandra now, looking up at him as he looms. INT. SHEPHERD RESIDENCE - TOILET - CONTINUOUS Wesleys face contorts as he grunts hard. Resting his skinny arms on the toilet seat as he struggles to squeeze one out. Eventually, we hear a plop. Relieved, he sighs and does a sign of the cross. FOYER Dr. Earl-Talley surfaces. A Rohrbaugh R9 pocket-gun and cell phone by his ear while he depresses an intercom entrance panel. He bumbles into both. DR. EARL-TALLEY Its done.

6. EXT. SHEPHERD RESIDENCE - DRIVEWAY - CONTINUOUS The front gate mechanically swings inward. A white sedan eases through. INT. WHITE SEDAN - MOVING - CONTINUOUS Behind the wheel is VELVEL GUTSTEIN (pronounced /vel-vahl./) Cold. Calculated. Smirks a lot. VELVEL (Into car phone) The plan, doctor, wasnt for her to commit suicide before killing her son -INT. SHEPHERD RESIDENCE - STAIRWELL - CONTINUOUS Dr. Earl-Talley scuttling up the stairs, hyperventilating. DR. EARL-TALLEY Im not a professional, okay? This is not easy for me. VELVEL (V.O) Find the kid. And take care of him. INT. SHEPHERD RESIDENCE - UPSTAIRS - TOILET - CONTINUOUS Wesley squeezes into his jeans. Takes a while to buckle his belt. Turns to the water closet. TOILET BOWL Stuffed with squelchy tissue paper, the toilet doesnt flush except respond with guttural sounds. BACK TO SCENE Wesley keeps cranking down the flusher but to no avail. Grabs his water gun instead and starts for the door. UPSTAIRS CORRIDOR Dr. Earl-Talley angles toward a door on the far end of his left. Enters the room. A few seconds after, Wesley emerges from a door recessed in an alcove diagonally opposite his bedroom and heads straight for the stairs --

7.

INT. SHEPHERD RESIDENCE - DOWNSTAIRS CORRIDOR - CONTINUOUS WESLEY (Entering study) Mommy, the toilets not -An intruder heaving his mothers body back onto her sofa. The intruder, Velvel, looks at him. So does his mother with dead eyes. Her face awash with blood. Wesley is in shock. Confused, mostly, as his eyes dart back and forth Shandra and Velvel, whos now looming toward him. Velvel gets closer and Wesley hurriedly shoots him. Squirting water in his face. Wesley makes a break for it but runs into Dr. Earl-Talley at the doorway. WESLEY Uncle Gerald! Burying his face in his legs and clinging on to him for protection with stifled breaths. DR. EARL-TALLEY (Patting him) Its okay, Wesley. Its okay. The doctor furtively tosses the Rohrbaugh to Velvel. Wesley removes his face from Dr. Earl-Talleys body to look up at him. Wondering why hes not whisking him away. Instead, the doctor forcibly turns him to face Velvel. His arms in the doctors fat palms. Hes too scared to protest. Velvel trains the pocket-pistol on Wesley. DR. EARL-TALLEY (O.S) Hurry up! Taking his time. DR. EARL-TALLEY (O.S) Take the shot, goddammit! And he does. Dr. Earl-Talley lays Wesleys limp body down and crouches over him. (CONTINUED)

CONTINUED:

8.

WESLEYS FACE Pushes the boys lids up with his fingers to reveal -DR. EARL-TALLEY (O.S) A black child with sapphire eyes. BACK TO SCENE Velvel just watches the doctor, who removes a small pair of scissors from his jacket. DR. EARL-TALLEY An incredibly... rare trait. WESLEYS FACE Straightens a lock of woolly hair on his head. Snips it off. FADE OUT. EXT. IVF INSTITUTION - NIGHT - 22 YEARS LATER SOMEONES POV: Dr. Earl-Talley exiting the building with two hefty BODYGUARDS... INSIDE CAR: The driver, named U KIM (pronounced /U Jim./) in the shadows, watching. Not discernible enough for a full facial recognition. INT. US APARTMENT (EL-PASO) - NIGHT CLASSICAL MUSIC plays. Obviously, this dude does not give a fuck about decor. The gloomy ceiling lights, in parallel with his personality. He never smiles. Eyes, begging for sleep. A Hanja writing tattooed on his left arm. A chord booms and the sinewy U Kim breaks into a martial arts exercise in black trunks and ankle socks. The sharp punches. The fast flying kicks. The aerobics maneuvers. All in rhythm with the Piano Sonata soundtrack. U Kim leaps with legs like sprouted wings and pirouettes to the successive violin strings as his technique transmutes into an enchanting weird mix of Taekwon-Do and Ballet. A phone starts ringing... (CONTINUED)

CONTINUED:

9.

U concludes at the behest of an illusory maestro with three simultaneous flying roundhouse kicks in sync with the pieces dramatic climax. Phone continues ringing... So U Kim (Tousled woolly hair + Sapphire Blue Eyes + Abdominal Bullet Wound Scar) = WESLEY SHEPHERD, walks toward an inner room. BEDROOM Snatches the phone receiver, holding it to his ear. U What? CLAUDIA (V.0) (That Southern twang) Holy cow, you could kill a rose with all that polite joy. Whatn da world happened to good ol hello? "Say whatchu gotta say" is pretty much Us silent response. INT. CLAUDIAS RESIDENCE (CORPUS CHRISTI) - FIREPLACE ... And CLAUDIA INQUIST hears it loud and clear. 50s. Caucasian. Dressed in a long chiffon gown and seated on a floral wing chair. A Southern belle at heart. CLAUDIA Well, I might got sum for ya. U (V.O) Find someone else. CLAUDIA Fraid that dog aint gon hunt. This aint just any other job. This ones more close to home. Yours if Im being direct. INT. US APARTMENT - BEDROOM His interest, roused. U Youve got a lead?

(CONTINUED)

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CLAUDIA (V.0) Shoot, I reckon. U (Impatiently) What is it -CLAUDIA (V.0) A knife fight in a phone booth, aint ya? Now Ill tell you on one condition and one condition only. U Im listening... EXT. ABU DHABI, UAE - MAIN ROAD - EVENING Sprawling glass buildings hedging the marble sidewalks ambled by pedestrians. The looser, Middle Eastern reflection of Manhattan, save for the sober atmosphere and fewer pedestrians. Some in their hijab and jalamia, others in Western gear. A sports car, its roof retracted, waits for a green light. A dark blue sedan drives up directly to its right. SEDAN: YAAKOV GEHMER glimpses to his left. An exact look-alike of U. Except Yaakov has dark brown eyes, crew cut hair and is younger in appearance. SPORTS CAR: THE DRIVER, 40s, also casts a glance aside. He cheerfully greets Yaakov with a nod. SEDAN: Yaakov returns it. Then looks up at his -REAR-VIEW MIRROR Other motorists are lining up behind them now. BACK TO SCENE Yaakov flitting his eyes toward the sports car again. Revs his car loudly. SPORTS CAR: The sports car driver smiles. Knowing just what this buster wants. His coupe roars back. TRAFFIC LIGHT Changes to yellow. Then green.

(CONTINUED)

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11.

TIRES Wheels from both automobiles come to life. BACK TO SCENE And off they go! Zipping past cranes and prohibited areas undergoing construction. Careening sharp bends without brakes. Averting incoming cars to circle obstructive trucks. Kids saying "mommy, look!" in Arabic. Naturally, the sports car is ahead. SEDAN: Yaakov, gaining on the sports vehicle, rolls down his window. From Yaakovs viewpoint, the cars are now directly perpendicular to each other. So is he and the obliviously ecstatic driver. Yaakov whips out a hand clenching a slim metal tube, about nineteen inches long and four centimeters wide, and pushes a lid. Discharging a glass ampoule into the -SPORTS CAR: -- It explodes into a spray of prussic acid in the drivers face. He tries to protest but -Starts to choke. His eyeballs protrude as the lethal vapor permeates his lungs. He grips his left chest. Letting go of the steering column. THOROUGHFARE The sports vehicle begins swerving out of lane. Still moving at top speed. Police picks a scent. But the target coupe soon fishtails into the air in SLOW-MOTION. Successively tumbling down the public highway. A confetti of glass fragments. The driver in his two-seater, in midair, soon gets whisked away on impact by a passing truck that smashes into it at an intersection. SEDAN: Yaakov. The ghastly accident in his wake. BACK TO SCENE (CONTINUED)

CONTINUED:

12.

Yaakov breathes a sigh of burden. Disappears into a bend. EXT. PLANO, TEXAS - INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - DAY A two-storey glass structure. Nondescript, considering neighboring buildings. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - ENTRANCE AREA - DAY Yaakov bumps fists with the SECURITY GUARD at the door. Not stopping as he waltzes past the ground floor entryway to a sparse reception area holding WAITING CUSTOMERS. A graceful walker in his white athletic sneakers. His baseball cap on, black college jacket and hands in black jeans. Regards the RECEPTIONIST with a smile as he glides by. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - ELEVATOR - DAY He makes his way into the mirrored lift. Waits for the panel doors to converge. FLOOR SELECTOR Presses the figures 1, 1, 2, G, 3, G. A code. BACK TO SCENE Yaakov. Calm as the car quietly conveys him. POSITION INDICATOR -1 INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MONITORING STATION - DAY CCTV #12 TWO SECURITY GUARDS, in green military fatigues, stationed on far and opposite ends, from each other, in a lobby leading to an elevator. Both holding Galli rifles. CCTV #13 Another couple of armed sentries down another corridor. (CONTINUED)

CONTINUED:

13.

BACK TO SCENE The dim-lit room is illuminated only by the forty-four wide closed-circuit TVs installed on a huge marble wall and -The anglepoise lamps aloft the keyboards on the desks occupied by -The three, headset wearing, surveillance operatives. Superimposed against the other screens on the wall is a master panel displaying a geographic diagram. Orange dots beeping on it. CCTV #10 An aerial view of Yaakov in the elevator. He glares upward and playfully flips Operative #3 the middle finger. Operative #3 laughs. BACK TO SCENE He presses a keyboard button, saying into his headset -OPERATIVE #3 Love you too, brother. It should be noted that Hebrew is the only language spoken in this underground intelligence facility. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - ELEVATOR - DAY -- Yaakov just chuckles in response. POSITION INDICATOR -2 BACK TO SCENE A ding goes off and the steel doors retract. Allowing Yaakov egress onto the second level underground. SERIES OF SHOTS LECTURE ROOM: TRAINEES, young men in buzz cuts and Mossad training uniforms, scribbling into notepads on their desks. MAIN INSTRUCTOR (O.S) About sixty-five percent of the Mossads intelligence... (CONTINUED)

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MISNOMER GREASEBOARD HaMossad leModi -> Tsomet/Melucha -> Katsa -> Sayanim. BACK TO SCENE A soldierly INSTRUCTOR using a pointer on one of the three easels behind him as he lectures. MAIN INSTRUCTOR (CONTD) ... Like everyone else, comes from open media. WEAPONS DRILL: The trainees, on their knees. Gun cases before them. On DRILL INSTRUCTORS cue, they assemble and dismantle the high-powered Galli; a cross between the Russian AK-47 and American M-16 assault rifles MAIN INSTRUCTOR (V.O)(CONTD) Twenty-five percent from satellites, radio communications... FIRING RANGE: The trainees perfecting their marksmanship. MAIN INSTRUCTOR (V.O)(CONTD) Liaisons with agents from other intelligence networks. SIS, MI5, DGSE, CIA (Pausing for effect) Even the Bundesnachrichtendienst... five to seven percent... PASSAGE: A training chamber visible from the corridors right glass wall. Yaakov passes by, looking down at them. MAIN INSTRUCTOR (V.O)(CONTD) But the most important source remains human intel, which is only three percent. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TRAINING CHAMBER - DAY A wooden enclosure with glass walls to the high ceiling and an overlooking verandah holding two other armed guards. EPHRAIM, birthmark on his right cheek, and ISHMAEL, big aquiline nose, spar. They are evenly matched. The others jeering and cheering them on. Oddly, they are all about 59 with the same build. Ephraim, in the last strike, beats Ishmael.

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They both grin at each other. Ephraim helps Ishmael up. INT. WHITE CAR - DRIVER SEAT - MOVING - DAY MAIN INSTRUCTOR (V.O)(CONTD) The Collections Department, as a result... HALEVY, an Asian Mossad trainee, drives his white car down a wet thoroughfare. Peers at his -SIDE MIRROR Red sedan, a few miles behind. BACK TO SCENE Halevys car turns leftward. Makes a quick right. Drives straight ahead for a while. Stops abruptly. MAIN INSTRUCTOR (V.O)(CONTD) ... Is the largest division in every HaMossad leModi headquarters. Halevy repeats this convoluted sequence called maultering. And looks at his side mirror again. SIDE MIRROR Red sedan still tagging along discreetly. BACK TO SCENE MAIN INSTRUCTOR (V.O)(CONTD) You have been recruited however, not for collection or intelligence gathering... Halevy smiles. Starts the vehicle. Travels a circuitous route. MAIN INSTRUCTOR (V.O)(CONTD) But to serve within the division this secret Komemiute base is primarily established for... RED SEDAN: NISSIM, a younger-looking recruit, puzzled. Unable to locate the subject hes been assigned to shadow. He hears honking behind him. Looks at his -REAR VIEW MIRROR Sees the white car he was tailing. BACK TO SCENE (CONTINUED)

CONTINUED:

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Nissim is pissed. MAIN INSTRUCTOR (V.O)(CONTD) The kidnapping and/or assassination of our potential enemies and targets around the world, including our Western allies. WHITE CAR: Halevy has the last laugh. Literally. MAIN INSTRUCTOR (V.O)(CONTD) Kidon. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - PASSAGE - DAY Yaakov, walking through a different area of the corridor now, stops in front of a pair of full-length doors. He steps closer towards it. DOUBLE-DOORS Opaque panes with metal frames. OPTICAL BIOMETRIC DOOR HANDLE Its locked. BACK TO SCENE Yaakov continues staring at it concernedly. HALEVY (O.S) (Tensely) Yaakov... Bringing Yaakov out of his abstraction. YAAKOV Halevy. Whats the problem now? HALEVY Its Nissim. You need to come talk to him. (Beat) Hes going on the field tomorrow and hes freaking out. YAAKOV Where is he?

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INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - NISSIMS QUARTERS - DAY Nissim is curled up against the concrete wall. Shaking and weeping. The kid is scared witless. Halevy stands there like a supportive friend. Watching --- Yaakov, in a crouching posture, listen to Nissim. NISSIM (Sobbing) Velvels gonna burn me. Hes gonna burn me alive and make everyone watch. Like they did to Aaron. HALEVY Velvel is not going to burn you cos youre gonna kick ass, okay? YAAKOV Wait, Aaron? HALEVY Dolores caught him forcing himself on a Ward Girl. Yaakov, at disdain with the news. NISSIM What if something happens like... (Sniffles) My gun jamming or, or the bullet doesnt hit th-YAAKOV Nissim, youve had sufficient time to train, right? Two months? (Beat) Trust me. They wouldnt have activated you if they didnt believe you were ready. HALEVY Yeah, Yaakovs right, Nissim. You have to believe in yourself. NISSIM Yaakov, youre gonna be deputy director soon. Cant you just talk to Dolores or something? To give me more time, or maybe, use someone else? They already trust you. (CONTINUED)

CONTINUED:

18.

Yaakov glances at Halevy and sighs. YAAKOV Even if I could, I cant now. Its too late for a reassignment. Besides, after all that training, they might as well just off you -Yaakov catches Halevy drilling him with a stare and in turn, catches himself. YAAKOV Sorry. Bad joke. (Beat) Yes, Im gonna be your deputy director soon and then Ill be able to recommend and re-designate. HALEVY And he can also get you face time with that ward girl you keep fantasizing about. Amidst the tears, Nissim smiles. YAAKOV (Chuckles) Ill do you one better. Ill get you alone with her here. No surveillance. Nissim suppressing a grin. YAAKOV (CONTD) So hang tight, brother. Two more missions after this and youre a full special agent. No more nightmares of getting burned. At least literally. They laugh. YAAKOV (CONTD) For what its worth, deaths one-up on us is we dont die when we expect to. (Lets it sink in) So be strong. Were the sons of Israel. Gods favorite. Our enemies are only jealous. One last time, the three of them share a laugh.

19.

INT. US CAR - MOVING - EVENING U drives. In a black suit, dress shirt buttoned to the collar, no tie. KEISHA, wearing a sequinned dress, sits quietly beside him. She tries to break the ice but hes intimidating. INT. STAGE - BALLET THEATER - NIGHT Dancers performing to Nutcracker in a son et lumiere-esque setting. A sheer tour de force. AUDIENCE: Amongst the crowd, U and Keisha watch. Shes enjoying the show. Us eyes, softer now. Still, an air of detachment between them. INT. US CAR - MOVING - NIGHT On their way back. The eerie silence continues. But Keishas had enough. KEISHA So... great show, huh? U (Disinterestedly) Yeah KEISHA Yeah... (Beat) So, U. Thats an interesting name. He doesnt respond. KEISHA (CONTD) (Getting impatient) That even your real name? U Its Asian. KEISHA Oh, what part? U Korea.

(CONTINUED)

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KEISHA Oh. Which one? U South. KEISHA From your dads side? Or your moms? U Both. KEISHA How come youre black? U (Sighs) I was adopted at eight. Parents moved back to Korea and thats where I grew up. KEISHA Oh, that explains the accent. So youre here on vacation? U No. EXT. AUSTIN, TEXAS - ROAD - NIGHT Us metallic gray sedan cruises through light traffic. It slows to a stop beside a residential building. INT. US CAR - STATIONARY - NIGHT Keishas starkly upset. U averts looking at her. Pops the central lock. She unhooks her seat belt and is about to open the door -KEISHA (Turns to U) You know what? Fuck you. You shoulda just saved yourself the trouble of making some shit up and just canceled. (Pushes the door open) Have a nice life! (CONTINUED)

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U patiently waits as she exits his car. SIDEWALK She steps out onto the pavement, clutching her purse and shimmering gown in one hand. Slams the car door with the other. Not a moment sooner, the sedan screeches off like a getaway vehicle. Keisha, utterly offended by the gesture. INT. CLAUDIAS RESIDENCE - BASEMENT - MORNING Candles on separate corners light the room. THREE GUESTS sit together on a couch holding hands tightly. The fan above them is stationary. Opposite them is Claudia, entering a cataleptic state. Her body rigidifies. Lids fluttering spasmodically over pupil-less eyes. The fluorescent lights aloft begin flickering on. A light breeze blowing the candle flames as -A gauze-like substance permeates from Claudias nostrils. Then her ears -A cyclical shrill sound is heard. The three sitters, apprehensive, slowly gaze upward. One by one. The fan had begun swiveling around. At an uneven pace. A thudding sound jars the sitters attention from the ceiling to the table centerpiece nearby. They look at each other in fright. The lights more epileptic now. The gauze emanating from Claudias every facial orifice now. Including her eyes and mouth. And as if possessed, Claudia speaks with a drawling mechanical voice in sotto voce. CLAUDIA Stella... Stella... Why?... The sitters just stare on at her.

22.

EXT. CLAUDIAS RESIDENCE - FRONT DOOR - MORNING U, sitting on the porch. The door behind him is opened. CLAUDETTE walks to U. Silly Japanese school girl in slim Caucasian cowgirls body. U (Standing up) Youre at home. CLAUDETTE Sorry. Was at the shower again. How come when you come around, Im at the shower? U, walking towards her... CLAUDETTE (CONTD) So, how are you doing? SHUNS HER as he walks past and into the house. Claudette, irritated. CLAUDETTE (CONTD) (To herself) Why do I even bother? U (V.O) I told her the truth. INT. CLAUDIAS RESIDENCE - KITCHEN - MORNING U eats at the island. A forkful of pancake, bacon and scrambled egg drenched in maple syrup. Claudia making pancakes at the cooker diagonally across U. CLAUDIA Whatchu mean you told her the truth? U That Im a merc. My agent whos a spirit mediums helping me with avenging my dead mother... (Chews) By interrogating her.

(CONTINUED)

CONTINUED: CLAUDIA (Turns to him) Good grief, Wesley. I thought you were being careful. What if she tells someone, or calls the police? U She wasnt supposed to believe me. CLAUDIA Well...? U She didnt. CLAUDIA I meant the date, dummy. U Well it didnt work out. CLAUDIA (Sighs) Wishes were horses, beggars would ride too. U That other night you said you had a lead. Did she say something to you? CLAUDIA Who? Keisha? U (Shes trying his patience) No. My mother. CLAUDIA Oh, Shandra... No, she didnt. (Feigning interest) So, I mean, come on, she was black and pretty. Liked ballet too -U (Snaps) I dont fucking care! Claudia startled at his reaction. BURNER The pancakes in the black skillet start crackling. BACK TO SCENE

23.

(CONTINUED)

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U (CONTD) (Moderating his voice) Dont set me up on any other blind dates, okay? I just wanna know what you have for me. CLAUDIA Thats fine. Just thought you had someone could make you feel much better, youd get your butt off your shoulders every once in a blue moon. U just sits there. Silent. Burning her with his glare as the skillet sizzles louder. U You lied to me? The tension climaxing. CLAUDIA Wadnt no lie. Twas just a practical joke, Wesley. U keeps glowering at her. A second away from killer mode. Faint traces of smoke drifting by. He looks down. At his meal. U Thats the last time you call me by that. The fork clinks against the plate as he drops it. He grabs his leather jacket draped over the backrest on the stool beside him. And leaves. Claudia ruminates on their exchange for a bit. Eventually collects herself and switches off the heat as the thickening smoke hovers around in the kitchen. The pancakes?... Charred to coal. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MRI SHIELDED ROOM - DAY Anesthetic cream is wiped off of someones forearm. That part of the skin, subsequently punctured with a tube needle.

(CONTINUED)

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That someone is a giddy Nissim. Lying in a supine position with headphones on. A semi-circular plastic antenna coil is clipped over his forehead. EL-BAZ (O.S) During these scans, its imperative the subject remain calm. Convinced as I am that you are... DR. EL-BAZ. An affable man. But dont fall for it. EL-BAZ (CONTD) This... will help ensure it. Dr. El-Baz depressing the plunger on a syringe hooked to the catheter in Nissims arm to fill it up with brownish fluid. NISSIM All this for a debriefing. Mossad couldnt afford a polygraph? EL-BAZ (Laughs) With a polygraph, stress levels take precedence over honesty. Heightening emotion, albeit innocent, could do you an unfortunately fatal disservice. NISSIM So the MRI helps you with your job. EL-BAZ Standard procedure, little katsa. As effected by Dolores. El-Baz rounds the patient table Nissim is on. EL-BAZ (CONTD) A commander loses a major war because a farrier somewhere failed to properly screw on a nail into the shoe said commanders horse would go on to wear. NISSIM All Because of a Little Nail. EL-BAZ Ah, you know of this movie.

(CONTINUED)

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26.

NISSIM One of the in-house productions we were made to watch during training. EL-BAZ Then you know theres no such thing as a small detail in this institution. Though negligence belonged to the farrier, culpability rests on the commander and his crew for overlooking examining the horses shoe. NISSIM So youre cross-checking something I havent already told you? EL-BAZ You tell us the truth but its your brain that truly knows it. Initiatives taken in light of unanticipated variables on the field are initiatives already taken for you. Therefore, what you think, has been thought. El-Baz, raising Nissims table to a certain level... EL-BAZ (CONTD) This is not an interrogation of you. But of the I... in you. My job is to ask the right questions. NISSIM This is not very confusing at all. EL-BAZ (Sniggers) Youve quite a way with words. If that will be all, it will be my turn. El-Baz holding up a toggle on the MRI scanner. A puckish lopsided-smile on his pale white face as --- Nissim is mechanically slid into the scanners bore... Nissims head, enters the radiant blue MRI tunnel. FADE OUT.

27. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - CREMATORIUM - DAY Nissims mouth is gagged. Drying tears on his cheeks. He wriggles to break free. His head hangs upside down and over the edge of the exposed metal casket his body is confined in -- So that the trainees can see his face. Lined up in rows of three like a platoon of soldiers. Chests out, arms folded back, gazing right at their bound comrade. Armed guards at the door in the corner of the crematory. Yaakov stands behind Velvel like his bodyguard. He hears Nissims muffled screams. But hes been through this before. VELVEL Jewish or not. There are only two kinds of races in this world. Velvel, noticeably older, circles the trainees -VELVEL (CONTD) Semites, and the anti-Semites. Its as black and white as that. -- Each and every one of them. Peering down their souls. Hoping he finds none. VELVEL (CONTD) Feelings have nothing to do with it. Internalize this, and save yourselves needless torment. Ephraim and Ishmael (the sparring friends from the training chamber earlier), and the others do their utmost to conceal any human emotion. Some of them are yet to perfect this. Most of all, a glassy-eyed Halevy. Velvel stops in front of him. VELVEL Whats that? HALEVY (Swallows a knot) Nothing. Halevy fighting to maintain his composure. A shell of himself as Velvel, with those incendiary eyes, strips him of his psyche. A tear streaks down his face.

(CONTINUED)

CONTINUED:

28.

HALEVY (CONTD) (Guttural) The heat... sir. VELVEL The heat? (Per Nissim) How do you think he feels? (Beat) Would you like to know? For Sure? The blood has left Halevys face. MINUTES LATER Shaking his head violently as hes being loaded into the burning furnace leg-first. Muffled screams dont get any louder this. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TRAINING CHAMBER - DAY Yaakov, in a black suit but no tie, approaches --- Halevy whos shadowboxing his mirror image with a contained fury. YAAKOV (Reaching him) Hey. Im not gonna be around for a while. Ive been activated. (No response) Do you need anything? HALEVY (Eventually) Yeah... Some ice cream. Yaakov catches him by the wrist. YAAKOV Hey. Get a grip. Outside these walls, the price of failure is exactly the same. It makes no difference who kills who. HALEVY I thought you told him to trust you. That that wasnt gonna happen. Then again, you can be very convincing, especially to yourself.

(CONTINUED)

CONTINUED:

29.

YAAKOV (Releases his wrist) What would you have had me do? HALEVY Get to the fucking bottom of it! YAAKOV What else was at the bottom? He fucking botched the mission! HALEVY I asked him, he said he passed it. I believed him. YAAKOV Cos you wanted to. HALEVY He said he saw something but he wouldnt tell me. He was too scared. YAAKOV Then he never belonged here! (Beat) Halevy, you can either choose to questions things or you can be grateful for this opportunity. Yaakov turns and starts leaving. HALEVY (Going after him) Hey, Im not done with you yet. His tone stops Yaakov. YAAKOV (Turns back to him) You wanna be careful, Levy. HALEVY Finally, the real man emerges. (Beat) You know, we all look up to you like a big brother. Thinking you have our backs. Just like Nissim and I had yours. (Yaakov, taken aback) Thats right. We knew you knew where she was. And you still do.

(CONTINUED)

CONTINUED:

30.

YAAKOV Where who was? HALEVY Netanya. That ugly, cow-faced ward bitch. Yaakov impulsively jacks Halevy by his shirt. Almost punching him when he restrains himself. HALEVY (CONTD) (Chuckles) Dont worry, we never needed the information. Were not the ones kissin up, tryna move up the ranks. Yaakov, dazed, lets him go. INT. CLAUDIAS RESIDENCE - BASEMENT - DAY Claudia and U, both seated, are holding hands across from each other. The seance is in full procession. Only that nothing unusual is happening. No psychokinetic forces messing with furniture or electricity. Claudias pupils eventually return. She sighs and -U opens his eyes. CLAUDIA (Considerately) Shes not talking to me. EXT. CLAUDIAS RESIDENCE - FRONT DOOR - CONTINUOUS U storms out. Walks angrily to his parked car. Enters. Drives off. INT. CLAUDIAS RESIDENCE - CORRIDOR - CONTINUOUS Claudia begins sprinkling dust from an urn-like container in the air. Claudette walks with her. Or dogs her, more like. CLAUDIA ... Two peas in a pod yall are.

(CONTINUED)

CONTINUED:

31.

CLAUDETTE And being like my daddys a bad thing? CLAUDIA Well, obsessive behaviors cant be a good thing either, darlin. CLAUDETTE Its called fighting for what you want, ma. CLAUDIA Then knock me down and call me roadkill, Ill be swaney. One minute, its this invasive photography thang. Now, its U this, U that whole damn time. You fixin ta have his babies or sum? CLAUDETTE Ma, all this cos I asked you a question? CLAUDIA He just aint the type one can get attached to is all. CLAUDETTE I wont, ma. (Irksomely) Now, come on. Spill! INT. US CAR - MOVING - SUNNY U, driving. Shandra in the passenger seat. CLAUDIA (V.0) Hes stuck in his path. Came here hoping to get some answers. CLAUDETTE (V.O) Stead you told him his mother stopped communicating. CLAUDIA (V.0) Tryna sever the ties, hon. Shafts of sunlight beaming off his scowling face.

(CONTINUED)

CONTINUED:

32.

CLAUDETTE (V.O) What you think hed do you told him the truth? INT. CLAUDIAS RESIDENCE - CORRIDOR - CONTINUOUS Claudia stops the sprinkling for a second. CLAUDIA I havent the earthliest idea what hed do, sugar plum. INT. US CAR - MOVING - CONTINUOUS U, looking mean. CLAUDIA (V.0)(CONTD) That boy colder than a witchs tit in a brass brassiere. Got an axe to grind with everyone and begrudges the whole world but the devil. Cluding his step-dad he aint since laid eyes on in a coons age. CLAUDETTE (V.O) Hes got a step-dad? Something piques Us interest. CAR RADIO He turns the volume knob way up. CLAUDIA (V.0)(CONTD) One posed to marry his mama fore she died. Says the man left him to rot. BACK TO SCENE Us attention is on whatevers coming out of his radio. He looks back at the road and... CLAUDETTE (V.0) He opens up to you, dudnt he? FRONT WINDOW Sees hes about to RUN OVER his dead mother. CLAUDIA (V.0) Hes a troubled kid, Claudette. And I love em. But you start gettin a (MORE) (CONTINUED)

CONTINUED: CLAUDIA (V.0) (contd) gully washer in ya patootie for em, you hit the dirt road, ya hear me? Steer clear o that boy. BACK TO SCENE Tries to avoid hitting her...

33.

ROAD: His gray sedan consequently veers off the asphalt into a barricade on the shoulder of the road. RADIO (V.O) Leroy obviously isnt holding back... CAR: Pulls his head back from the airbag. Looks out... RADIO (V.O) I mean, spilling family secrets like this. What is he thinking?... ROAD: Theres no one. No dead mother. INT. MOTEL - ROOM - NIGHT Yaakov and NETANYA, both naked and sitting up on the bed with her back against his chest. Her PC is propped between her raised thighs and small baby bump as she works on it. Shes baby-faced, bald and bespectacled with eyes of laser-like intensity, unfiltered cognition, and a spitfire tongue. Yaakov has weird taste all right. Their conversations are in Hebrew. YAAKOV It was so out o the blue. Halevy was right. Something was wrong. His mouth was bound up, almost like -PC SCREEN A program is being written. BACK TO SCENE Netanya merely adjusts the bridge of her glasses, and continues. YAAKOV (Chuckles) I teach you one thing and you never hear a word Im saying anymore. (CONTINUED)

CONTINUED:

34.

NETANYA (Smoky voice) You merely taught me computer functionality. The programming bit I deciphered myself. YAAKOV (Softly) Okay, whatever. He starts planting wet ones on her neck, then shoulder. Trying to seduce her, but she draws away. NETANYA Its very hard concentrating with a phallic object rubbing against my lower spine, you know? YAAKOV (Persisting) Turns me on when you speak like that. NETANYA (Peremptorily) Stop it. YAAKOV Whats the problem? These are the only chances we have and you wanna act like this. NETANYA Act like what? A bitch? YAAKOV I havent said th-NETANYA The common equivalent term for uncompromising women, such as myself, down there, is it not? (Beat) I venture a guess its equally verboten I express my discontent at my fiance being made a sperm donor while copulating with numerous falsely imprisoned sex slaves. A torturous experience for you Id imagine. Rather you than me.

(CONTINUED)

CONTINUED:

35.

YAAKOV Nothing has happened, Netanya! Why cant you, for now, just -NETANYA -- Let it go? (Beat) Sorry to disappoint but I fear I lack the traits necessary for such willful negligence. Yaakov is worn-out from the squabble. He cant win with her. NETANYA (CONTD) Im done. She refocuses on her computer. INT. CAPITOL STATION (AUSTIN, TEXAS) - LT. GOV. HOFFSPRINGS OFFICE - MORNING Mahogany desk, brown leather chairs, floor lamps, wood-wall paneling with two moose head trophies, a coat rack of cowboy hats, and parquet flooring. In a sitting area, LT. GOV. HOFFSPRING - 50s, fat, bolo tie, suspenders and jeans - with his carbon copy PITBULL perched beside him, sits across --- Dr. Earl-Talley and DOLORES BLAVATSKY. Like the other two, she sits cross-legged but with her ankle on her knee. A demon with boobs, white pig-tail and masculine build. Always in trench coats, jodhpurs and knee-high patent leather army boots. She is Mossads own six-foot Heinrich Himmler. DR. EARL-TALLEY Somatic cell nuclear transfer. A nucleus from the host egg is extracted and replaced with a new one from the donor cell sought to be copied. HOFFSPRING This makes cloning possible? DR. EARL-TALLEY For livestock, yes. For humans, the oocyte is stripped of proteins, two actually, during the transfer and as such is incapable of fostering further embryonic growth.

(CONTINUED)

CONTINUED: HOFFSPRING (Confused) And... so? DR. EARL-TALLEY Im the only one who knows what needs be done, when it comes to cloning a human. DOLORES (To Earl-Talley) Only as far as we know. Hoffspring is silent for a bit. Then looks at Dolores. HOFFSPRING What if I declined? DOLORES We barely tamper with our own, lieutenant governor. Both Perez and the prime minister also do not support this initiative. They lack the understanding. Having these perfect copies of our soldiers will revolutionize the history of ground assaults for America. A diathesis of the UAV drone. DR. EARL-TALLEY Families will no longer need endure the thought of their fathers, their sons and spouses not coming home from a war. Hell, they wont even have to go anywhere. HOFFSPRING That would be remarkable. But repealing the HCP Act, I suspect, will do little to change your presidents stance on the matter. DOLORES He who reaches the oyster first, gets the pearl. What America does, the world follows. And when the world does follow, Israel wont want to be left standing with an empty shell. In the unfortunate event Perez remains intransigent, a reverse on the ban will open the floodgates for comprehensive research.

36.

(CONTINUED)

CONTINUED: HOFFSPRING (Cheekily) As opposed to The Mossad spending its own money on churning out more dopplegangers. (Beat) Being a non-citizen, if your cover gets blown, you get deported. If I get caught, I get tried for treason. I dont see where this could go. DOLORES What you stand to gain is our backing. With that, you can be sure God is on your side. Your boss, the governor, wont know what hit him come next years election. HOFFSPRING Ah, but the thing is I wont be running. Ill be happily retired. Dolores and Earl-Talley glance at each other. Beaten. DR. EARL-TALLEY Sir, Texas is a Republican State. And while youre enjoying retirement, this is gonna change. HOFFSPRING How so? DR. EARL-TALLEY Non-white babies are making up more than half of all babies in the country. The overreaching effect? By 2050, Caucasians are the minority in America. (Beat) Your anti-immigration laws can only slow the bleeding. What we propose could double as a long-term strategy in keeping the seat of power in the right hands. HOFFSPRING Clones, voting, is your suggestion? DOLORES Another legislative bill, when that time arrives, should do it. Youre a man of influence, lieutenant. Its why weve come to you.

37.

(CONTINUED)

CONTINUED:

38.

Hoffspring gets up. Walks to his desk... Dolores eyes soon meet with the Pitbulls. The dog frowns and growls at her. HOFFSPRING (O.S) Shooting you straight, Director Blavatsky... Dolores keeps glowering at the Pitbull with those soulless grey eyes as the staredown ensues. HOFFSPRING (O.S)(CONTD) Im not one to concern myself with ethical issues of what most would regard an abomination... The pitbull loses its nerve and is reduced to whimpers. HOFFSPRING (O.S)(CONTD) Now theres a handful of senators owing me favors but given the nature of what youre proposing... Pees itself on the leather couch. Submissive urination. Having won, Dolores shifts back her gaze toward Hoffspring. Dr. Earl-Talley looks at her in awe. HOFFSPRING (CONTD) (Walking back with a newspaper) Forming a subcommittee with Veteran and Military Installations will be key. Now the chairman of that committee, Senator Jackson, fucking nigger that he is... Dr. Earl-Talley, offended. HOFFSPRING (CONTD) ... I guarantee, is gonna raise Cains up about this. He reaches them. Drops the paper on the coffee table before Dolores and Earl-Talley. HOFFSPRING (CONTD) (Referring to newspaper) Another tiff were gonna have to make go away.

(CONTINUED)

CONTINUED:

39.

Curious, the doctor uncrosses his legs and leans forward to read. Dolores already knows whats on it. NEWSPAPER CENTERPIECE "FAMOUS IVF SPECIALISTS MOST PRIVATE EXPOSED BY SON." "A picture of the doctor beside the bold caption." HOFFSPRING (O.S) Its been on the news. All over radio since yesterday. ARTICLE "... reputable IVF expert, Dr. James Earl-Talley, an eunuch, according to son, Leroy Earl-Talley..." HOFFSPRING(CONTD)(O.S) (Sniffs) Whats that smell? BACK TO SCENE The doctor, shocked and humiliated. DOLORES (O.S) What are you doing about that boy, doctor? EXT. SIDEWALK - DAY KENDRICK JACKSON aka CUTEY PIE dejectedly saunters alone down a pavement. Passing very few pedestrians. Backpack on with his head, full of curls, bowed. Under his breath, he beat-boxes and then segues into a rap without attracting any real attention from passers-by. CUTEY PIE "Yo its the C.U.T.E.Y to the P.I.E/ All the bullies in my school just dont like me/ Cos Im quiet in class, I dont like to speak much/ They think Im a freak and I pee my jeans but/ Im-a get em all wet when I get a gun... (2ce) Im only nine years old but Im old enough/ Yeah, nine years old but Im old enough/ To fuck, fuck these bitches up/ Fuck these bitches up!"

40.

EXT. THE JACKSON RESIDENCE - PARKING PREMISES - DAY A posh black car stops by a small gated fence. Alighting from its backseat is --- SENATOR KENNEDY JACKSON. Vandyke beard. Impeccable dresser. Carries himself like the president. With the demeanor of a refined gangster, sashays past the gate, up the stairs and -INT. THE JACKSON RESIDENCE - FOYER - CONTINUOUS He enters. Continues his rhythmic gait through the exquisitely furnished house. INT. THE JACKSON RESIDENCE - LIVING ROOM - CONTINUOUS LCD TV A reel of a younger Jackson couple at their wedding reception... BACK TO SCENE PAMELA JACKSON sits curled up on a couch with a remote in hand, watching. Her hair frazzled. She could make a train wreck feel good about itself. SEN. JACKSON (Walking in) Hey, sweet thang. He goes to her. Pecks her. She almost doesnt notice. SEN. JACKSON Yeah, came back to get sum. (Squinting at TV) Whatchu watching? PAMELA (Glumly) When it used to be the two of us. Jackson slips her a look. He knows what conversation that glib tone leads to and thus, diverts it. SEN. JACKSON (Starting for the door) Kendrick upstairs?

(CONTINUED)

CONTINUED: PAMELA (Getting up) I was just about to go get em. SEN. JACKSON (Eyes widening) Hes still at school?! PAMELA (Like a lying fiend) Yes, um, his teacher called. Said theyd be finishing a littl -SEN. JACKSON You forgot to pick em up again, didnt you? She doesnt bother denying. Jackson rushes out of the room enraged. INT. MOTEL - ROOM - DAY Yaakov on the edge of the bed. Lost at sea. Theres no one else in the room.

41.

He sighs. Then presses a redial button on his phone. On speaker, the line rings... Yaakovs eyes light up as he hears her voice. But its the answering machine. Holds the phone to his mouth to leave a message. YAAKOV (Despondently) Hey again... (Beat) This is my life, Tanya. Its who I am. I wouldnt know where to start if I quit... I love y-Someone knocks. Looks through the viewfinder... Is relieved. He unlocks the door letting Netanya in. She has a satchel. YAAKOV (Locking the door) Where in Gods name vyou been? Ive been calling you like crazy. Netanya, ignoring him, angles for a reading desk in the corner. Sets down her bag and sits to bring out her laptop. (CONTINUED)

CONTINUED:

42.

Yaakov, watching her. Puzzled. Straightens the computer screen and powers it. NETANYA You said Nissim was terminated. YAAKOV Yeah? PC SCREEN In a data section, the name Nissim and the word Ksharim are keyed in. BACK TO SCENE Yaakov, behind her now, leans over to look in her monitor. YAAKOV Whats this? Yaakov realizes what shes doing and promptly turns the system off. YAAKOV (CONTD) Youre cracking into Stuxnet?! What the fuck, Netanya?! You want them to find us?! NETANYA Im properly camouflaged, Yaakov. (Turns it back on) Have you heard the news? YAAKOV What, the thing about the doctor being an eunuch? NETANYA Asides that. The Hezbollah chiefs sudden cardiac arrest. YAAKOV You wanna know if we were behind that? NETANYA Oh, I know Mossad was. The team that carried out the operation was what caught my curiosity... given your suspicions regarding Nissims execution. (Beat) (MORE) (CONTINUED)

CONTINUED:

43.

NETANYA (contd) He was on that team. Enters a string of commands and swivels her chair to the side. Allowing Yaakov unimpeded viewing. PC SCREEN On it, is Nissims mission profile. YAAKOV (O.S) (In disbelief) He pulled the trigger. BACK TO SCENE NETANYA An eye witness claimed he came in contact with a hooded man running past the restaurant where he worked. Near the hotel the Hezbollah chief was lodged at. YAAKOV He saw Nissims face? NETANYA Said he didnt. But he was lying. Negations, microexpressions, all those nuanced gestures and flash impulses you taught me about when a person is guilty of fabrication, he had an overabundance of it. YAAKOV Coulda been some joker looking for cheap publicity or attention. NETANYA Could have been. But it wasnt. The eye witness was Nissim. YAAKOV What? NETANYA (Turning to her PC) I decided to conduct some recon on this restaurant. PC SCREEN The cursor stabs a media player icon. A window opens. Playing a video. (CONTINUED)

CONTINUED:

44.

It shows a busboy approaching an unseen person with a pen and pad in hand. BUSBOY Whatll you be ordering? FREEZE FRAME... The busboy, an exact replica of Nissim. BACK TO SCENE YAAKOV (Shocked) Thats impossible. Nissims dead. I was there... I stood there. NETANYA Who the hells on my screen then? Not even the busboy has the answer to that. INT. CLUB - VIP SECTION - NIGHT LEROY - douche-bag almighty - cracking jokes with his SYCOPHANTS. Predominantly a harem of whores. Countless champagne bottles with sparklers in containers and big cigar stubs on ash trays before them. A WAITRESS stops in front of him and delivers a long golden gift box in a bow. WAITRESS (Directs his gaze) From him. Leroy glances toward a corner far behind her. U, seated alone in a corner. Smoking. A slight nod at Leroy. Leroy unwraps the ribbon, warily opening the box. Squints at first. His eyes progressively lighting up as he gently extracts the content. A small photograph. He smiles. Looks up at --- U. Eyes begging for sleep but nevertheless strapping in his leather jacket. He puts out his blunt and gets up -Leroy gestures to the girl beside him. She protests with a stare as U approaches... ... And takes her place.

(CONTINUED)

CONTINUED:

45.

LEROY (Pouring him wine) Interesting. Im afraid youre barking up the wrong tree... U (Filling the blank) Carson LEROY Youre barking up the wrong tree, Carson. Im not into that sort of thing. U You entertain people barking up the wrong tree with pricey champagne? LEROY (Seriously) What in the world would give you that impression? U About what? The champagne? LEROY (Irritated) No. U I put a simple two and two together. LEROY I know people, Carson. Dangerous people. This makes me unfuckwittable. What two, and what two did you put together? U (Beat) Your stint at rehab for sex addiction. Theres many adjectives for your kind... Picky is hardly one of em. LEROY (Extends his hand) Leroy... Earl-Talley (Doesnt loosen grip) Ive never seen you here before.

(CONTINUED)

CONTINUED:

46.

U reaches into his jacket with his free hand. It emerges with an ID card. Leroy lets go and collects the card. LEROY (CONTD) (Reading out) Carson Reeder. The Informant. U Were new. Bare with resources but well get there. LEROY Listen, Carson. You seem a cool cat. But youre the hundredth on a long line of fucking journos tryna wine and dine me in hopes Ill give em more on my famous scientist dad and his unfortunate... inadequacy. Now they say if you got good looks, thats all you got. So... what else you got? U I only have a few questions about your father. Tell me everything I need to know and Im yours. Fucking the eyeballs out o ya brains out. Leroy chokes up. He likes the sound o this. EXT. CEMETERY - DAY U is crouched before a grave. Staring at --- His mothers headstone. A fresh bouquet by it. U You wanna explain yourself? Claudette hiding behind a pine tree, squeezes her eyes shut and grits her teeth in embarrassment. Then bares herself. She walks up and stops four feet behind him. CLAUDETTE Hi (No reply) Heres where my dad was also buried.

(CONTINUED)

CONTINUED: U In the tree back there? CLAUDETTE Ya know, be mean all you want. I know you dont mean it.

47.

She goes and sits on the ground beside him. Facing him. U Theres this girl I befriended a few months back. A pageant girl. Polite. And laughed a lot. My job was to find out how much she knew and I did. He reaches into his back and unsheathes a short sword from within his tight black satin jacket. Claudette, frightened. U (CONTD) (Playing with it) This is called a Tanto. Like a Japanese tactical knife. (Chuckles) Her eyes lit up. Much like yours when you stare. Maybe she didnt know which hurt worse. Me, or the Tanto far up her navel. CLAUDETTE What was her name? U, unable to answer, shirks the question. U (Beat) You think youre cute and that I cant hurt you. If there is one, Im not that kind of killer. CLAUDETTE (Nervously) You wont... You wont kill me. Cos theres no point to it. U Not all of us need a reason. CLAUDETTE (Looking at the headstone) What do you suppose was their reason? (CONTINUED)

CONTINUED:

48.

Regards her with a long stare before shifting back his gaze. CLAUDETTE (CONTD) You know, I used to take pictures. Non-consensually. Of, like, huge public figures. Not superstars but like, Verizon, HP, Ericsson... Dr. Pepper branch managers and CFOs. I could always tell when they were up to some monkey business. (Chuckles) Fucking sleazebags. Theyd get their pictures in the mail... Id get a check in mine. (Beat) With you, I cant figure you out. U So thats what you want. To figure me out. Your lifes purpose for the time being. CLAUDETTE If you were a school project, itd be much more purposeful. Not like the little chupacabra hunt you got going on. Striking a chord in him, she reclaims his attention. CLAUDETTE (CONTD) Youve been back a year now and still nothing. Peoples parents die everyday, when theyre just still kids but they fucking deal. U Your dad died... in a plane crash, didnt he? (Beat) Was he looking at you, like he wanted to tell you something... but he was dead? Did you see his killers faces, one of them a family friend, and they saw you... and smirked cos you couldnt do anything? A sudden noise rings out and your dad is waiting for you on a sidewalk, or in the corner of your living room everyday, asking you with a smile, to come sit with him. (Beat) (MORE)

49.

Do you see all that? She has no answers. EXT. RED LIGHT DISTRICT - EVENING Us grey sedan stops by a sidewalk. A HOOKER gets in. INT. US APARTMENT - BEDROOM - EVENING U sits on the edge of his bed. The hooker is kneeling between his legs. Theyre both still fully clad. HOOKER (Latin accent) So firrst, you lean forward... U bends forward. Angling for a kiss. HOOKER (CONTD) Wait. Your lips are a bit dry. Swallow all the saliva in your mouth firrst, den lick your lips. (U obeys) Now come. Hang your head as you come. (Beat) To the side. He tilts his head. Catches her lip. HOOKER (CONTD) Remember my lower lip inside the two of yource. He switches, putting her lower lip between his. They share an innocent hot kiss for a while. He graduates to holding her head in his hands. Then -HOOKER (CONTD) (Pulling back) Ay, ay, ay, ay... U (Frustrated) What?

(CONTINUED)

CONTINUED:

50.

HOOKER No tongue yet. Youve gotta pace yourrself. Firrst lip-lock, den tongue. Eace into it, papi. They resume the practical. INT. US APARTMENT - BEDROOM - MINUTES LATER Their clothes are off. The hooker is on all fours on the bed with U pounding her anally from behind. Sweating torrents as he fights for his life while the hooker groans. HOOKER You fuck like a monkey with no brain, papi... Find some rhythm. U (Frustrated) Its not like Ive done this before, okay? Cut me some slack. HOOKER Dis man you want to fuck, ees he going to cut you some slack when you tearing his tight ass up? (Beat) You got to make it sexy, mi bello. Slower. Bluece-y. U continues. At a more controlled pace now. HOOKER (CONTD) Yes... thats eet. (In a low voice) Eace into it, papi. Eace into it. EXT. SIDEWALK - NIGHT Drawing on a cigarette, U stands by a lamppost. Stares at --- An apartment building on the other side of the road. He takes one last draw. Flicks the stub away, wears his fake ID round his neck and sighs. Pockets hands in black satin jacket. Blends in with the night as he crosses the street...

(CONTINUED)

CONTINUED:

51.

U (V.O) Your father, Dr. Earl-Talley, every time I see him, hes with at least two bodyguards. INT. APARTMENT BUILDING - LEROYS LOFT - LIVING AREA U, on an armchair with a pen and memo pad in hand. U (CONTD) He has reason to fear for his life? LEROY (O.S) Those are Israeli Intelligence operatives. Mossad. Simply protecting their investment. U Because he clones for them. Leroy comes to you with a glass of water. LEROY Because hes the only one who can. U takes it. Leroy turns away from him... He swiftly takes out a Viagra pill from his jacket and downs it. Leroy, in his terrycloth robe, plaid pajama pants and furry clogs, sits on the sofa closest to U. LEROY How dyou know bout the cloning bit? U I do my research. LEROY (Sensually) Like you did with me? U So your dad... hes directly accountable to the Mossad?

(CONTINUED)

CONTINUED:

52.

LEROY Sort of. Not like he goes to Tel Aviv for meetings but, yeah. U Where do they convene then? LEROY Last I remember, it was up in Plano. U (Surprised) Right here in Texas? LEROY These agents, or katsa, as theyre natively called, pretend theyre foreign executives. They either create real companies, or hide behind preexisting ones, like Dell. Thats an easy one. U The owner is Jewish. LEROY Bingo. Now a CIA substation prolly has like hundred agents, the Mossad, maybe twenty. Youd think it inefficient of them but you take into account the millions of Jews in Diaspora, and the real answer to the equation is tens of thousands of Semitic volunteers around the world recruited by katsas for the Zionist cause. U This makes your dad a recruit. LEROY Well, hes furthering his cause as regards cloning, whatever it is, but yes. Hes a white agent. The ones with pure Jewish heritage are called the sayanim. U How do you know all this?

(CONTINUED)

CONTINUED:

53.

LEROY My father and I were close once. U Im sorry and I dont mean to be insensitive but, how is he your father... considering his... LEROY Lack of a dick? (Chuckles) Hes more of a progenitor. I, his little genetic duplicate. (Beat) I try talking and walking different, to no avail. Then he tried to make me think like him. Reason like he did and know everything he knew. But I am my own man. Not a ball of hair or some fingernail clipping. U What about your mom? LEROY She hung herself with a curtain cord in the shower, what about her? U Well, thats what was said. LEROY What, suicide doesnt add up to you? Look... I was an infant when she died. I dont give a fuck. U Okay so, diverting back to Dr. Earl-Talley. Who are these Mossad commanders hes answering to? (Beat) Do you know them? LEROY I do. U What are their names? LEROY Nothing goes for nothing, Carson. Wed a deal. Time you showed me how (MORE) (CONTINUED)

CONTINUED:

54.

LEROY (contd) hungry you are for those names and back that infamous claim up. Im curious to see whom that enormous thing in the photograph really belongs to. (Glances at Us crotch) From the looks of it, I cant wait. U stiffens. INT. LEROYS LOFT - MASTER BEDROOM - MINUTES LATER Leroy is lying on his side and backing U as the latter repeatedly grinds himself in. The experience, more an ordeal for U, is painful for both of them. Leroy turns his head to U. LEROY (Breathlessly) Kiss me. U accedes. Their tongues down each others esophagi. After a while, U unlocks lips to gnash his teeth with his eyes squeezed shut. Then he lets out a grunt of relief and slowly pants after climaxing. LEROY (CONTD) Wait, what the fuck? Thats it? Us body contracts in a gag reflex. He jumps out of bed naked and runs into an inner room, slamming the door shut behind him. LEROY (CONTD) Dude, my ass is clean! What the fucks your deal?! Leroy gets down from the bed, annoyed. Pulls on his robe. Starts tying the rope... BATHROOM EN SUITE U is huddled over a toilet, retching into it. LEROY (O.S) (Faintly) Hey, this aint over yet, fuck boy!

55.

INT. LEROYS LOFT - MASTER BEDROOM - MINUTES LATER U, alone in the room, dresses up. While wearing his last article of clothing and pocketing his lanyard, a loud gunshot brusquely blares out! He fossilizes, instantly entering a spell of delirium. A default mode. The reverb from the gunfire effecting a jarring tone in his ears. Drops to his knees with his hand on a head being scrambled by a tinnitus. Stays still with eyes tightly shut. Beads of sweat break out on his forehead. Struggles to his feet as the tinkling persists. He lurches across the room, feeling for leverage, and exiting through an opaque ornate glass door. Walking unsteadily past obscured decorations in the hallway. The ringing sound portending an ominous doom. He treads down the stairs quietly... DOWNSTAIRS CORRIDOR U hides behind a wall. Slowly peeps to find --- A figure in the dark parlor leaving. He reaches the door and abruptly casts a sharp glance back. U, dodges the once-over. The silence pierced by a different quiet. An externality in the ambience. Then a brisk cluck. U, still finding his equilibrium, waits a while longer... PARLOR Giddily, U advances toward a royal armchair backing him. A hand drooping over one of the arms. He gets close enough to identify the person as --- His mother. Shot in the head. Staring at him. Same way she was the last time he laid eyes on her. He shuts his eyes. Takes deep breaths before opening them. Leroys committed suicide. Allegedly.

56. EXT. STREETS - NIGHT - MINUTES LATER U tails the suited culprit amidst pedestrian traffic. Not taking his eyes off... Until two patrol vehicles come speeding past in opposite directions. Looking back up, he sights his target turning a corner in a flash. Jogs to that point to find --- The target crossing to another pavement down the road. Fearing he might lose him, he hurries into the direct trajectories of oncoming cars that honk him back to reality. "Are you blind, mother-fucker?" and other insults are hurled at him. Making it to the pavement, he hides behind a recess in a tall building. His target still completely oblivious. U vanishing into another curb with the target. Entering a more solitary side street where every little sound is amplified. Slows his stride to maintain some distance. The target zigzags between structures before making a final leftward turn. U exits back onto an access road after him. But his prime suspect has disappeared! U realizes hes only a few miles ahead of the same street the pursuit ensued. The target had taken him on a wild goose chase. U Gesekki! Son of a bitch. INT. BURNS UNIT - LOBBY - MINUTES LATER Yaakov, in black suit and shirt, pads past scrubs and orderlies. Minimizing himself as he angles for a door. He reaches it... PATIENTS ROOM Slips in undetected. Gently closes the door. The heavily bound patient is asleep. Yaakov moseys past her to her huge window and undoes the jalousie. WINDOW Far down below in the rowdy street, a troubled U coming into focus... BACK TO SCENE

57.

Now he sees whos been following him... INT. PUBLIC TRANSIT BUS (MOVING) - CONTINUOUS Surrounded by enervated passengers, U stands, holding on to a strap. He looks upset. More than usual. The bus halts. EXT. STREETS - NIGHT U dismounts. SECONDS LATER Yaakov, wearing a facecap, in turn, shadows U. Hes more calmer about it. U curves along with the footpath. Yaakov does the same. EXT. ALLEYWAY - CONTINUOUS U, approaching a jagged chain-link fence dividing the alley. A few paces from it, he stops. And coolly turns around. Facing his tracker. About ten feet from him. U Facecap on a suit. Im the only one I know would wear that. Yaakov equably removes the cap. Tosses it onto a billowy black refuse bag beside a nearby dumpster. A murky alley. Only their facial outlines discernible. YAAKOV You were following me. U You killed Earl-Talleys son. YAAKOV Whats it to you? U Personal business. And youre not leaving till I know who sent you. Yaakov takes some steps closer.

(CONTINUED)

CONTINUED:

58.

YAAKOV Look behind you... Im the one whos not letting you leave. And with that, kicks up a plank into his hand, hurls it dangerously at U and starts running viciously toward him. U sidesteps it to find another one bulleting through like a loose propeller slash flying guillotine. Kicks it back in his assailants direction but Yaakovs leaped into the air and rebounded off the wall to drop behind U. Catching him in a choke-hold. U struggles to extricate himself. His face only gets puffier. He stops trying. YAAKOV You dont know who youre dealing with... Us hand goes into his jeans pocket... YAAKOV (O.S)(CONTD) Youre gonna tell me who you are... Bringing out a ballpoint pen... YAAKOV (O.S)(CONTD) And why youre -Yaakov grunts. The right wall of his stomach burrowed halfway through. U jamming the pen along with its cap down his side. His sleeper move slackened. U almost scoring an elbow to his face when the katsa endures through the pain to constrict Us arm with his and with raw power, shoves him into the distance. Us spine, unfettered, crashes against the concrete floor. Writhes back to his feet. Feeling like he just fell off one of them fire escapes seven storeys aloft. Yaakov reeling as he extracts the writing instrument, dripping with red ink, from his greater curvature. Tosses it back at U like "you can have that." U, with weaponized pen in hand, charges at Yaakov. The latter sidestepping every strike and counters the umpteenth by making U stab himself in the shoulder. With U between him and the jagged fence, he delivers a punt that has him springing into the pointy tips of the unentagled wires. It smarts. (CONTINUED)

CONTINUED:

59.

U, limping towards Yaakov, yanks out the pen from his shoulder. Yaakov stampeding him back into the hooks of the frayed chain links and this time, pinning him there with a flurry of blows to his torso. U tries a knee bash but his knee gets kneed back faster by Yaakovs knee. Yaakov, breaking his face, one punch after the next. And for the finale, raises his balled fist up with the edge directed at Us face like Thor with his hammer. U senescently grabbing his suit jacket. The only fight left in him. But the hammer still comes down. Hard. And knocks him out. His head drooping with the fences spikes holding his body up from slumping. Yaakov steps back. Breathing hard. From feeling a sudden pain from the perforation on his stomach, he looks downward and notices a lanyard inches away from U. FADE OUT. INT. MOSSAD HQ (TEL AVIV) - D-GS FLOOR - MORNING An engraving specialist on a ladder inscribes on an opaque screen door... SCREEN DOOR TAMIR DAGAN, DIRECTOR-GEN... DIRECTOR-GENERALS OFFICE WALL FRAME "An old Jew stands at the edge of a trench full of corpses. A Nazi soldier aims a rifle at the back of the Jews head." D-G. (O.S) Nothing reprehensible thus far? VELVEL (V.O) She is ruthless. But this is Mossad. D-G. (O.S) (Sniggers) That it is.

60.

EXT. TEXAS, USA - STREETS - NIGHT Velvel sauntering down a sidewalk with a headset on. His peacoat lapel turned up to cover half his face. D-G. (V.O) Well, find something... and youll have more than my gratitude. VELVEL Understood, sir. The line is disengaged. INT. MOTEL - RESTROOM - NIGHT A pair of brown synthetic lenses are enclosed in a transparent plastic case. Standing at a sink, Yaakov looks intently at himself in the mirror. His blue eyes glowering back. Slowly, he examines his hands. Overwhelmed by a thought. Netanya stops at the doorway, cupping her pregnant belly. NETANYA Are you alright? Looks to his side without looking at her and fakes a smile. YAAKOV Yeah. He leaves the sink. Following her back to the room. INT. MOTEL - ROOM - MINUTES LATER The lights are out and Netanya is asleep. Yaakov isnt. Lying on his side, he peers through the darkness still preoccupied. He eventually shuts down. INT. MOTEL - ROOM - MUCH LATER Yaakov, awoken. Not by the bright bedside light but a sharp sensation instead. Hes alarmed.

(CONTINUED)

CONTINUED:

61.

NETANYA (O.S) Stay still. Or youll hurt the baby. YAAKOV Tanya? What are you doing? Netanya is seated on his back. Bending forward the best she can with a penknife in her hand. YAAKOVS NAPE The penknife is pressed against the back of his neck. NETANYA (O.S) Im freeing us. The blade digs into the skin and a surgical incision commences. BACK TO SCENE YAAKOV (Winces) This is crazy, Netanya. NETANYA Sorry. Doctor that extracted mine, took him a few seconds. YAAKOV He was a professional. NETANYA But not a genius. Seconds later, she appears perturbed. Straining forward for a closer look. YAAKOVS NAPE Further peeling back the carved flap of skin with the knife. NETANYA (O.S)(CONTD) Wait. Its not there. BACK TO SCENE YAAKOV They moved it. FId told you that a while ago, youd have believed me?

(CONTINUED)

CONTINUED:

62.

NETANYA Well, where is it then? YAAKOV Get the fuck off me. NETANYA Yaakov, where -YAAKOV Get off me! She carefully unstraddles him. He gets out of bed. Fetches his suit jacket from the closet and exits the room enraged. INT. MOTEL - ROOM - DAWN Netanya breaks off on her PC when Yaakov enters. Her fingers lingering on the keyboard, she studies his mood as he avoids any eye contact with her. NETANYA Youre still incensed, I understand. But theyve been lying to us. Orphans who owe our lives to the Zionist movement. And that we should be grateful. Yaakov is unresponsive. Taking off his jacket. NETANYA (CONTD) (Chuckles) But were not even orphans, are we? Were less. Yaakov removes an object from his pant pocket before perching himself on the edge of the bed. His back to her. NETANYA (CONTD) Im not sorry for what I tried to do. YAAKOV (Sighs heavily) Dont be. Netanya, surprised by his forgiving tone. She puts her laptop aside and rounds the bed to sit beside him. Hes staring at something in his hands.

(CONTINUED)

CONTINUED:

63.

NETANYA (Per lanyard) Whats that? YAAKOV (After a while) Wesleys lanyard. Puzzled, she collects the ID from him. NETANYA Says Carson Reeder. The Informant. YAAKOV Its a fake ID. The company doesnt exist. NETANYA How did you get this? YAAKOV We met. He made me but never really saw my face. NETANYA You killed him? YAAKOV Almost. I called an ambulance. NETANYA I have no words. YAAKOV It was always so clear. The vision I had for myself. My dreams. My beliefs. Now, who am I?... Im a fucking clone. NETANYA Its the circumstances that make us, Yaakov. This doesnt change who you are. Who we still can be. YAAKOV Tanya, I cant stop thinking about him. What hes like. What Im really like... (Chuckle) Sounds stupid.

(CONTINUED)

CONTINUED:

64.

NETANYA Sounds reasonable. YAAKOV I may av lost him though. NETANYA Youre a katsa, silly. Thats impossible. YAAKOV I move anywhere not remotely proximate to my mark, theyll know. NETANYA We need to get rid of that tag, Yaakov. Youre not their dog anymore and -YAAKOV I agree. (What shes been wanting to hear) But also we need to exercise tact. Or theyll hunt me down. Then theyll find you too... (Kisses her belly) Both of you. (Chuckles) He just kicked me in the mouth. NETANYA Which one? The information soon registers with him. He straightens to look in her eyes for clarification. His brows furrowed. NETANYA (CONTD) (Softly) I figured you could use the news now. A smile forming in his eyes. INT. APARTMENT BLOCK - HALLWAY - MORNING Barefooted. U hobbles through.

65. INT. US APARTMENT - BEDROOM - SECONDS LATER He enters. Walks unevenly to his bed and tries to make level his slouching posture -U (Painfully) Shibbal! Means fuck. He painstakingly removes his ball jacket to reveal a hospital gown tucked into his jeans. Four areas of his back all sewn up as he pulls the gown off. INT. US APARTMENT - PARLOR - A MINUTE LATER Hes changed into a clean gray top. Holds a phone receiver to his face and waits for an answer. INT. APARTMENT BLOCK - HALLWAY - CONTINUOUS Claudette shuffles through her purse. Fishes out the buzzing phone while passing walls of doors. Catches a glimpse of the caller ID, panics and retraces her steps. But shes not fast enough. The sound of a door opening far behind her causes her to freeze. Her worst fear confirmed as she gathers the nerve to turn around and find U leering at her. With no other recourse, she starts toward him and is soon in his intimidating presence. He says nothing. Just that customary cold countenance on his mug. CLAUDETTE (Nervously) You rang? INT. US APARTMENT - PARLOR - A MINUTE LATER Claudette sits quietly on a couch. Backing her, he packs his clothes from the wardrobe into a trolley bag. U You said you used to blackmail people. Company executives.

(CONTINUED)

CONTINUED:

66.

CLAUDETTE You were actually listening. U Did you do anyone at Dell? CLAUDETTE The computer makers? Yeah, for sure. Why, you need it? U Yeah. CLAUDETTE It was their CFO. He paid up and I never called back. Not sure I still have it but Ill look. What do you need it for? U ignores the question and angles for an inner room. BEDROOM He enters. CLAUDETTE (O.S) Can I just ask a question though? This doctor that helped those bad people with what happened. Wouldnt he know where those people are? U I go after him now, theyll know. Opens a bureau. Removes a burgundy kit bag from it. CLAUDETTE (O.S) Or, you could lose your chance. (Chuckles) Ya know, my mom played one of the Weyward Sisters in MacBeth once. Hecate. Before she gave up theater. You remind me of the story. Unzipping the kit bag, it contains a shimmering set of sashimi bocho and tanto knives. U (Zips it back) Dont you mean Hamlet?

(CONTINUED)

CONTINUED:

67.

CLAUDETTE (O.S) Well, the delay of revenge part for that one. Macbeth for the blind ambition part. (She laughs) Othello for the black part. He smiles, then heads back to the parlor with the kit bag. PARLOR Claudette, mopping his hardwood floor. U (At the doorway) What are you doing? CLAUDETTE Cleaning footprints. Youre tryna cover your tracks, right? Not saying anything else, he proceeds into the parlor and heads for the wardrobe. Hes halfway through when he SLIPS and falls hard on his back. U Argh! Shibbal! Claudette hurries to his side... U (CONTD) (Snatches his hand away) Ano shipal. "Fuck off." Claudette giggles uncontrollably. As U struggles to get up, he cant help but find the humor in the situation. Chuckles PLEASANTLY. INT. DR. EARL-TALLEYS RESIDENCE - PARLOR - DAY Dr. Earl-Talley grieves. A blank expression on his face. Light-handedly holding a tumbler of whiskey. Dolores and Velvel are present. Velvel positions himself by the fireplace. He watches Dolores walk over to the doctor. She flips her trench-coat aside to crouch before him.

(CONTINUED)

CONTINUED:

68.

DOLORES (Emotionlessly) Were truly sorry for your loss, Gerald. Should you need anything... Dr. Earl-Talley just SIPS his whiskey. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MRI SHIELDED ROOM - DAY Yaakovs head in the hollow tube. Headphones on with his face dyed blue by the MRI scanners radiation beam. YAAKOV ... I put his right arm in a lock, forced the Glock into his palm and shot him once through the temple. EL-BAZ (V.O) Was there any struggle? YAAKOV None. It was swift. EL-BAZ (V.O) You were scheduled to return yesterday. Ten hundred eastern in fact. Can you account for the twenty-one hour delay? YAAKOV A slight error in logistics. Made it imperative I didnt raise suspicions. Checking out of the hotel would have been too abrupt. EL-BAZ (V.O) Were you made before, during or after taking out the target? YAAKOV No... I wasnt. MRI CONTROL ROOM Dr. El-Baz, seated by a desk with a system console, takes his finger off the speaker button on the control panel and leans back from the small microphone beside it. Glances at the monitor.

69. COMPUTER MONITOR Against a black screen, two animate radiograph images of Yaakovs brain. One in grey, different areas of the other image highlighted in orange and purple... EXT. THE JACKSON RESIDENCE - EVENING Pamela drags her carryon down the marble front steps. Resolute in her action. Kennedy Jackson hurries out of the house as she reaches the asphalt driveway holding a car parked with a suited chauffeur cramming in luggage. SEN. JACKSON Pamela! (Upon her) Pamela. The chauffeur sandwiches her bag in. Shuts the trunk. SEN. JACKSON (CONTD) Dont do this. PAMELA I cant go on like this, Kennedy. Playing the good wife... SEN. JACKSON This is not about that. PAMELA Youre right. SEN. JACKSON Dont do this. That boy loves you. Someone catches Jacksons eye. Pamela follows his glance upward and sees... Kendrick watching them through his bedroom window. PAMELA (Choking up) I have these thoughts... These very bad thoughts like... when it was just the two of us, you know? SEN. JACKSON What bad thoughts? Things have changed, Pam. We have a beautiful son now. Together. (CONTINUED)

CONTINUED: PAMELA I keep thinking what if it could be like that again? Before Kendrick came in the picture.

70.

It dawns on Jackson what shes implying. It horrifies him. PAMELA (CONTD) (Off his reaction) Goodbye, Kennedy. She pecks him and gets into the car. Leaving Jackson in a temporary daze. INT. THE JACKSON RESIDENCE - CUTEY-PIES ROOM - NIGHT Cutey-Pie sitting on the side of his bed. A pen in his hand as he quietly verbalizes from a Composition notebook. CUTEY-PIE Momma packed her bags, left me and my dad/ Did she go forever? Is she not coming back?/ My birthdays in twelve days, so I hope she comes... (Scribbles down) I promise to be a good son... from now on. (2ce) Im only nine years old but Im old enough/ Nine years old but Im old enough/ To fuck, fuck these bitches up/ Fuck these bi -SEN. JACKSON (Entering) Hey, man. Youre still up? CUTEY-PIE Im just finishing my rhymes. I wanna be the best rapper in the world... Better than Eminem even. SEN. JACKSON (Chuckles) Okay. But its past your bed time, little emcee, now come on. CUTEY-PIE Okay, dad. Places his pen and pad on the bedside drawer. Nestles under the duvet. (CONTINUED)

CONTINUED:

71.

Jackson packs the clothes littered on the floor... CUTEY-PIE Dad, how come... Eminem is white... but he raps so well? SEN. JACKSON (Dumps them in laundry basket) Him being white has nothing to do with it. He practiced a lot, just like you. CUTEY-PIE Yeah. His mom hated him too. SEN. JACKSON (Goes to Cutey Pie) Whao, whao, whao... (Sits beside him) Whered you get that from? Your mom loves you. A lot. And so do I. CUTEY-PIE So shes gonna make it for my birthday? SEN. JACKSON (Cornered) Yes... Shes gonna make it for your birthday, Kendrick -- Oh, sorry, "Cutey-Pie." (Beat) Now go to sleep. CUTEY-PIE Okay. (Turns over and closes eyes) Goodnight, dad. SEN. JACKSON Goodnight, Cutey-Pie. Jackson sadly mulls over their conversation for a while. Then pulls the cord on the lamp, blackening the room. INT. US STUDIO APARTMENT - PARLOR - DAY TABLET SCREEN A finger slides into focus several incriminating shots of two unsuspecting subjects; a forty-ish man with a woman whos not his wife.

(CONTINUED)

CONTINUED:

72.

The picture is later moved to one of a wrinkle-faced man staring at the tablets lens through his bifocals. A play sign is visible on the image. BACK TO SCENE U Whos this? CLAUDETTE My dad. She shifts closer beside U on the fading microfiber couch in his new apartment. TABLET SCREEN She taps the Play sign... The still image comes alive. Claudettes fathers eyes rove around. As if recording himself while trying to figure out the tablet in his hands. Suddenly he sticks his tongue out, rolling his eyeballs back in his head... Claudette bursts into a giggle. ... Dermal creases stretching into lines and contorting as the old mans mug continues transmuting from one ridiculously funny expression to the next... BACK TO SCENE Claudette convulsing with laughter now. U, finding either the video clip or Claudettes reaction to it amusing, huffs a smile. CLAUDETTE (Laughter subsiding) Whats this Korean for? Fingering the tattoo on the side of his left arm. U Son. He answers, feigning concentration on the tablet. CLAUDETTE As in S, U, N, or S, O, N? U S, O, N.

(CONTINUED)

CONTINUED:

73.

CLAUDETTE Ya know, my dad was a mathematician. He would always tell me and my mother we equaled his life. Without us, there was no answer. He was coming up with this convoluted math equation, and it was supposed to be so novel, it would revolutionize the subject. He wanted to make his mark so bad, he lost sight of what really mattered... His family. U Did he succeed? With the equation? CLAUDETTE No. He never found an answer. (Beat) And its ironic because, he never knew he was the reason him and I werent close anymore. He just couldnt figure that out. (Tears) At times I think it was for the better, ya know? Or hed have been more depressed. (Gets a grip) Im sorry. U (Looks at her) The tattoos a gang sign. The founders last name. Not son as in mothers son. CLAUDETTE (Chuckles) You got me. U Youre so pushy. You shoulda been an interro -He pauses. Remembering he once made the exact same statement to his mom. CLAUDETTE (O.S) What? U -- Gator

(CONTINUED)

CONTINUED:

74.

CLAUDETTE (Very confused now) Huhn? He says nothing back. Just stares into her eyes. Deeply. Claudettes eyes saying a lot back. U I should... make that call now. Crestfallen, Claudette tries to salvage whats left of her dignity. CLAUDETTE (Shakily) Okay COFFEE TABLE U switches back from dads home video short on the tablet PC to the Mr. Who caught in flagrante --- And grabs the mobile phone beside it. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TRAINING CHAMBER - DAY Yaakov and some trainees surround the platform upon which two other trainees spar. They are Halevy and Ishmael. Going at it hard as they counter each others attacks. Remember Halevy? Nissims friend. Ishmael being the one sparring with his friend, Ephraim, much earlier on. Dolores and Velvel enter. Looking down on the trainees from a raised area with the three armed guards stationed abut one another. Ishmael lands a punch on Halevy... ISHMAEL (Taunting) You fight just like a woman, you know that? Halevy recovers. In the next bout, he retaliates and sweeps Ishmael to the hardwood floor. HALEVY (Standing over him) Whos the bitch now?

(CONTINUED)

CONTINUED:

75.

DOLORES (O.S) Impressive! They all look up at her direction. Surprised shes present. DOLORES (CONTD) (Descending the stairs) You think to win, is to be a man. And to not is to be lesser. A woman. She reaches the landing and proceeds to their midst. Removes her trench coat. Tosses it but a trainee quickly catches it before it touches the floor. DOLORES (CONTD) (Beat) Lets test this logic. Halevy and Ishmael, not sure what she means, look to their teacher, Yaakov. Hes as befuddled as they are. DOLORES (CONTD) Now! Her holler making it clearer. Ishmael nervously gets up. Stands side by side with Halevy, whos furious now. The gods have gifted him with this rare opportunity. He runs toward Dolores. Ishmael accompanying him. Lunges at her with a flurry of hand strikes. Ishmael enters the duel from another angle with a flying kick. They both get an A for valiant effort but Dolores thrashes the spirit of the founder of Krav-Maga out of them. Using their advances against them. The best thing at this point would be to stand still. Maybe then her strikes would hurt less. She eventually punts Ishmael off with her knee-high boots. A resilient Halevy attempts another shot but she brings him to his knees, cradling his head with gloved hands. At her mercy now, he looks her boldly in the eye and says... HALEVY (Panting) Burn in hell. DOLORES (Chuckles) Such a bitch. BREAKS his neck. His body goes limp and drops with a peremptory thud. (CONTINUED)

CONTINUED:

76.

Yaakov and all the trainees, shell-shocked. Including Velvel whos still on the veranda watching. Dolores shifts her gaze to find Ishmael shaking like a jitterbug a few paces from her. She looms toward Ishmael, who scuttles on his hands and knees to Yaakov for protection. ISHMAEL (Cowering behind his leg) Please dont let her kill me. Yaakovs heart is breaking for him. Its his moment of reckoning. DOLORES (Reaching Yaakov) Youre in the way. YAAKOV Dolores... I beg you... Please. DOLORES (Beat) Youre in. My. Way, katsa. Yaakov doesnt flinch. VELVEL You want to make deputy, katsa... youll step aside now! YAAKOV No, sir! I cant. (At Dolores) Youve proved your point, Dolores. Please. Dolores glances downward at Ishmael. Then back at Yaakov. DOLORES Youre right. I overdo it sometimes. (Beat) Youll be going on the field tomorrow. Alone as usual. Get ready. She turns and leaves. Lucky Ishmael. A look of respite from his swollen face. Ephraim is relieved for him. (CONTINUED)

CONTINUED:

77.

Yaakov is lost in his thoughts. Ruminating over all that just transpired. The lurking consequences of his stance. He knows it doesnt end here. The trainee holding Dolores trench coat rushes toward the upper platform to give her back. Then, he stops. His eyes widen... Ephraim is walking towards a terrified Ishmael... when Ishmael gets shot up more times than Stephen Biko... Dolores firing. Not taking her finger off the trigger. Until the Galli produces a click sound. She slaps the rifle back against the de-weaponized guards chest. He collects it. Ephraim and the trainees utterly horrified. Ishmael laying there. As dead as dead can be. In a forming pool of blood. Yaakov glares at Dolores --- Who casually wears her trench coat. Adjusts its lapel. Glares back at Yaakov with inexpressive eyes before exiting the chamber. Velvel disappointed at his protege... follows. INT. RESTAURANT - PRIVATE AREA - NIGHT U is led into the dim-lit room by a waiter. Theres only one table and Claudia is sitting at it. U Whats this about? CLAUDIA You gon have a seat first? U eases into one. WAITER What will you both be having? CLAUDIA (Reading menu) The foie gras and a 1979 Chateau Margaux would be just divine. WAITER Great choices, maam. (To U) (MORE) (CONTINUED)

CONTINUED: WAITER (contd) How about -U Nothing. The waiter leaves. Finding him rude. CLAUDIA Good Lord, Wes. Im tryna make it up to you here. U Im not here for the truffles and caviar, Claudia. This better not be another setup. CLAUDIA There you go again. Puttin shit in my sugar. (Beat) Ol Louis LaCrosse. Remember I told you bout him? U Man that introduced you to the agency? CLAUDIA That one. I coulda sworn on my mommas grave you werent listen -U What about him? CLAUDIA Well, Leroy Earl-Talley got sent to the Lord and now the doctors fixin ta off his sons killer back. U I thought the son killed himself. CLAUDIA Earl-Talley dont think so. They found sperm up the poor boys ass. Supposedly belonging to the killer. A rape and kill. U Howd they know its the same person thats the killer? Leroy coulda been bisexual.

78.

(CONTINUED)

CONTINUED: CLAUDIA You sounds if you knew em. Well, scratch my watch and wind my butt, maybe Earl-Talley knows the sonnabitch, I dont know either. Now instead o go to the police, he gets him a hold of Ol Louis to take care o the bastard. U Do you know who this killer is? CLAUDIA Louis a darn sharp tool now. I pry too much, hes gon smell sum. I figured what I haves enough for you to do sum with.

79.

The waiter serves the classy meal, pours her the vintage wine and leaves them be. CLAUDETTE (CONTD) (Picking up cutlery) Now Louis got two his boys on the job. Two his best boys might I add. You never see em coming. Try not to let em see you coming either. Get ta followin dem and see what you find. Starts on her duck liver. INT. SKATING RINK - DAY Yaakov stands in the center of the rink with only his black trunks on. His wrists, behind his back, and ankles pinioned, while HITMAN #2 scans his body with a metal detector wand. HITMAN #1, facing Yaakov, rests his camouflage short-barreled pump action against his shoulder. HITMAN #1 Ya know, you could make it easier on us, you included... if you just told us where -The handheld scanner, being hovered over his wrist, beeps. HITMAN #2 Bingo. (Straightens) Guess the zipties coming off.

(CONTINUED)

CONTINUED: HITMAN #1 (To Yaakov) This not the part where you take advantage, black Jesus. Youre dying today.

80.

He levels his sawed-off at Yaakov and orders his partner. HITMAN #1 (CONTD) Take it off. FADE OUT. FADE IN: MINUTES LATER Hitman #2 is on the floor feebly aiming a .38 pistol at someone. Coughing, with his stomach leaking. He fights to pull the trigger but death soon reaches him. Yaakov is still bound up. He hasnt moved. Hitman #1, on his feet, has a short sword through his forehead. U, behind the hitman, collects the sawed-off. Hitman #1 collapses to the floor and U, placing a leg on his neck, wrenches out the tanto buried through his skull. U What is this? (Beat) Who the fuck are you?! YAAKOV My names Yaakov. U You tryna set me up? YAAKOV No, Im not. Were the same, Wesley. U Who. The fuck. Are you? YAAKOV We met before. U Oh I fucking doubt it. Now Im not gonna ask you again. One more vague answer outta ya mouth and youre next. (CONTINUED)

CONTINUED: YAAKOV (Beat) Im a clone.......... Im from you. U (Incredulously) Youre a clone......... From me. YAAKOV Dr. Gerald Earl-Talley. Im sure you can remember him. He clones for Mossad. The people I work for.

81.

U walks up to Yaakov and presses the blades edge against his neck. U You think this is funny, dont you? You have a deathwish. YAAKOV Im serious... (In his most sincerest) Believe me. U You want me to believe... I was cloned, by this doctor? YAAKOV He and your mother were partners. Co-founders of SaviorZex Drugs. Now Ztex after getting suspended for their intrusive research on stem cell generation. U Killing the Unborn for a Leg and an Arm... as the papers put it. YAAKOV They were cutting-edge. The Mossad took cognizance of their talent, and recruited them in secret. Shortly after a robber breaks into your home. Apparently, you were left for dead... Your mother wasnt. (Beat) The doctor was best friends with your mother. For over thirteen years. Id assume he had ample access to the family. Thats how he got to her... your real dad... (CONTINUED)

CONTINUED:

82.

(U, shocked) ... Its also how I happened. U How the fuck do you know all this?! YAAKOV I work for the Mossad. I found your record, and mine. Theyve been cloning for years, and it didnt start or stop with you. (Beat) You say it out loud its outrageous, but you think about it longer... not so much. Hes right. U still feels and tugs at Yaakovs face. No fake layer of skin coming off in his hand... U Whatever it is, Im ending your maker. Right after I decommission you. YAAKOV Counterproductive. You were with Leroy, pretending to be something else. You think his fathers involved in some way. U He helped kill her. Not looking good for you, slick. YAAKOV Well, one things clear. Youre looking for revenge... I swear to help you find her. U You work for them. YAAKOV It doesnt feel right anymore. Never really has. (Beat) Your trust issues is a well, huh? (Beat) The other day I left something in your pocket. Much like the one youre wearing now. (CONTINUED)

CONTINUED:

83.

U hesitates but checks his jeans pocket. Pulls out a rumpled strip of paper. Reads it... YAAKOV (O.S) That was my contact. U glances back at him with less harsh eyes and withdraws the tanto from his neck. EXT. DOLORES RESIDENCE - NIGHT A white SUV parks in a gated premises. Dolores alights from the backseat with a briefcase and strides toward her house. DOLORES (V.O) -- Says he lied about his last mission. INT. DOLORES RESIDENCE - BEDROOM - NIGHT While on speakerphone, Dolores applies makeup at her dressing table. Another side of her. VELVEL (V.O) The one on Leroy? DOLORES El-Baz insists he was at least spotted. VELVEL (V.O) He also insists hes behind Netanyas disappearance. Has it in for the kid for some reason. DOLORES (Rubbing lipstick) And you stick up for him a little more than you should. Hes been a lot different lately. Defiant in fact. VELVEL (V.O) (Sighs) Im his handler. Ill handle it. DOLORES I want you to watch him closely, Velvel. Ensure theres no cause for concern. (CONTINUED)

CONTINUED:

84.

VELVEL (V.O) (Reticently) Understood. The line is disconnected. Dolores rises from the stool. Steps back to the center of the room from the dressing table for a full view of her figure. Loosens her white hair. It falls over her shoulders. She catwalks to her mirror, parading her stiff body around like some transvestite model. INT. UNIVERSITY OF TEXAS - STEAM TUNNEL - DAY An etiolated underground channel held up by stone pillars. U is flanked by bundles of wires and rusty metal cages with steaming devices locked in. He checks his watch. Flicks on his flash light and aims it at --- Yaakovs face as he arrives. U Couldna met somewhere not so hard to find? YAAKOV I stray too far, theyll know. U Hence, the skating rink? YAAKOV (Chuckles) Hence, the skating rink. U So, Leroy... Was he that much of a threat? YAAKOV We dont take chances. U Anybody got killed here, tucked away quietly... nobody would know, would they?

(CONTINUED)

CONTINUED:

85.

YAAKOV Itd take a few weeks. (Beat) Leroy give you anything worth much? U Just that your people recruit volunteers with Jewish heritage and the base Talley reports to is in Plano. Dell Computers, cos their CEO is Jewish. I blackmail him, he hands you all to me on a platter. YAAKOV (Chuckles) Trite as that plan sounds, it is practical. But youll get nothing. Theres a Dell in Plano, but theres no IBM. U (Incredulously) What are you saying? its not Dell? YAAKOV Its not the Dell in Plano. Its the IBM thats not in Plano. (Beat) Im your only way in, so youre gonna have to just trust me. Like a brother. INT. LAX AIRPORT (CALIFORNIA) - TERMINAL - DAY Senator Jackson and his son, Cutey-Pie, proceed after a handler carting off their baggage for them. They all exit. YAAKOV (V.O) The ghost site in Planos underneath a two-storey glass building masquerading as an IBM branch office. Yaakov exits too. U (V.O) How many inside?

86.

EXT. LAX AIRPORT - PICK-UP AREA - CONTINUOUS Sen. Jackson and Cutey-Pie get into a black sedans backseat YAAKOV (V.O) Nine armed guards. Thirteen recruits left... U (V.O) Clones like you? INSIDE YELLOW TAXI Yaakov watches from the backseat -WINDSHIELDS POV The senators chauffeur loading the luggage from the cart into the vehicle before them. YAAKOV (V.O) Yes. INT. UNIVERSITY OF TEXAS - STEAM TUNNEL - DAY U and Yaakov are now treading a concrete walkway in a much more illuminated passageway with numerous overhead steam pipes hissing. YAAKOV (CONTD) Making just one of us costs six million dollars. Regardless of whether the embryo survives. U Headquarters is funding this? YAAKOV Not any longer. EXT. MAIN ROAD - DAY The yellow taxi discretely following the black sedan YAAKOV (V.O)(CONTD) So Dolores gets creative, mandating intercourse with the ward girls. U (V.O) Ward girls?

(CONTINUED)

CONTINUED:

87.

YAAKOV (V.O) Clones bred to carry clones. Now, our biological babies. Till Mossad, or at least Dolores can persuade the government to legalize funding. INT. HOTEL - ENTRANCE HALL - DAY A bellhop wheels Sen. Jackson and Cutey-Pies luggage across the carpeted floor. U (V.O) Whos this Dolores? YAAKOV (V.O) Director of the Kidon Unit substation in Plano. She gave the order to have your mom killed. Yaakov walks ahead of them. Straight down. U (V.O) There was a man that day. Had orange hair... beard like a wolf. YAAKOV (V.O) Velvel. Dolores second-in-command. They instead turn leftward... INT. HOTEL - ANTEROOM - CONTINUOUS The senator heads for the front desk only inches away from the waiting area where a black man in a long weave-on and spectacles, or U, bides. U (V.O) Who else? YAAKOV (V.O) Velvels right-hand man... Me. SEN. JACKSON (To receptionist) Room 419 Upon hearing this, U gets up and dials on his phone. U (On phone) 419

88.

INT. HOTEL - ELEVATOR LOBBY - CONTINUOUS Yaakov, standing by, hangs his phone up. Boards one of the cars. U (V.O) Youre close to this Velvel? YAAKOV (V.O) He tells me everything. Well, almost. Dolores thinks shes in control. Hes only there now to make her think she still is. U (V.O) A coup detat, huh? INT. HOTEL - LOBBY - CONTINUOUS Yaakov coolly glancing around. Trying one key after the other to unlock Room 422. YAAKOV (V.O) Somewhat. The agency has a new Memune. A new chief with his own restructuring agenda. U (V.O) So Velvels helping him out. YAAKOV (V.O) Theyre treading carefully about it. Its a highly chauvinistic agency. And Dolores knows this. He soon gains entry. INT. HOTEL - LOBBY - SECONDS LATER Cutey-Pie nattering with his dad. The bellhop ushering them to their room. Opposite 422. INT. UNIVERSITY OF TEXAS - STEAM TUNNEL - DAY They sit on a concrete staircase. U So how do I get in?

(CONTINUED)

CONTINUED: YAAKOV Youll need a code, a chip, and a plan. First, Im gonna need your help. U An angle emerges. Help with what? EXT. DISNEYLAND PARK - DAY

89.

Sen. Jackson and Cutey-Pie excitedly strolling down the footbridge from the Sleeping Beauty Castle. YAAKOV (V.O) My last assignment. Yaakov tailing them... Then suddenly, stops. Lets them leave. INT. HOTEL - ROOM 422 - EVENING Yaakov and U, facing each other closely. Seated on the edge of their decorative klismos and occasional chairs. With Yaakovs forearm in Us hand, the former allows the latter cut through his wrist with his dagger. Blood streams out. Dripping onto the platform of nylon lain out over the area of Persian rug underneath them. YAAKOVS WRIST Seconds later, a plastic tweezer goes into the wound. Grips a miniscule circular metal object subcutaneously plastered, and peels it off. WRIST-WATCH The empty battery aperture in the back of the watch is coated with an adhesive substance. YAAKOV (O.S) Hurry up. The transmitter is gently placed inside the glue-filled aperture. It sticks perfectly. BACK TO SCENE Yaakov wrapping a medical gauze around his bleeding wrist. Without restoring the caseback, U quickly buckles on the watch, adjusting the face downward. Walks over to a wooden bureau by the bed. On it is a --

90.

FIRST-AID KIT Sewing thread. Needle. Iodine bottle. And Lighter. Are picked out. INT. HOTEL - ROOM 422 - MINUTES LATER BLUEPRINT The Mossad ghost sites underground architecture scheme in Us hands. Outside the borderline is a slanted scrawl: Elevator Code: 112G3G BACK TO SCENE U, poring through the plan, sits on the bed by Yaakovs feet. A shirtless Yaakov slouched against the headboard, enduring the burning pain from the surgery. His forearm grotesquely sutured up. Then his mobile rings. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MONITORING STATION - CONTINUOUS OPERATIVE #3 (Into headset) Agent Dori, come in. (Beat) Lost transponder signal temporarily. Calling to confirm health status. (Beat) Roger that. INT. HOTEL - ROOM - CONTINUOUS The phones on speaker... OPERATIVE #3 (V.O) Over. YAAKOV Out. He disengages the call. U Agent Dori? YAAKOV Its a code name.

(CONTINUED)

CONTINUED: U How come you didnt follow through? With the mission. YAAKOV I had my reason. U doesnt press the matter.

91.

Yaakov realizes if he doesnt open up, U will never fully trust him. YAAKOV (CONTD) It was his sons birthday. U gets up. Paces around a bit. U I walk into the base, they ask why I aborted. Then they find out, I am not you. (Intensely) Are you setting me up? YAAKOV I wouldnt waste precious time ambushing you when I could kill you myself? U You were only a replica that got lucky... Dont get carried away. Yaakov, a little hurt. YAAKOV Be that as it may, you dont hold a candle to Dolores. Or Velvel. (Beat) You held back that night. Not because you didnt wanna beat me. But cos you didnt believe in yourself. Thats how I beat you. U Its weird enough looking at you, talking to you... but dont ever teach me how to be myself. YAAKOV Wont happen again. (Beat) The mission is only pending, not aborted. The targets doing a press (MORE) (CONTINUED)

CONTINUED:

92.

YAAKOV (contd) conference tomorrow. Ill get him there and you can have your revenge on the fourth. U Thats a full two days after the mission. YAAKOV Hes gonna be poisoned with a thallium ball. Hes gonna think its a mosquito bite at first. He gets home, starts feeling sick and in sixteen hours falls into a coma. Doctors diagnose a cardiac arrest. Ninety-six hours later, that being the fifth on the calendar, he expires. U Still doesnt answer the question. Why two days? YAAKOV That is now when Im scheduled to report back to base. U Why not report back next day after tomorrow? The deed woulda been done. YAAKOV (Cornered) Because hes gonna need the antidote next day after tomorrow. Recovery time is forty-eight hours, youll have an extra twenty-four hour window following infiltration. Unless you wanna have a sleepover, thats more than enough time for some vengeance racking. (Beat) I told you this was my final operation, but only the last one really was. Im not shedding any more innocents blood for them. Contrary to what they or you may think, Im not just some human prototype. I have my own path.

(CONTINUED)

CONTINUED:

93.

U You coulda done this mission yourself. But you chose to... (Gestures with watch) Strap me along. Why? YAAKOV Vicarious soul-searching. U You think you and your runaway sex clone are gonna get far enough? YAAKOV Well, were trusting you... to pull it off. U You shouldnt trust so easily. YAAKOV (Beat) Cos you still dont trust me, huh? Off U, who stares back intensely before coolly shying away. EXT. LOS ANGELES - PUBLIC SQUARE - DAY A palm-tree-lined park with gold concrete spheres, a fountain, purple bell tower and reflective skyscrapers in the background. In the center, stands a vocal Senator Jackson at a lectern with his PERSONAL SECURITY DETAIL before a crowd of local news journalists, photographers and supporters. Their picket signs reading, NO TO MANUFACTURED BABIES, KILL CLONE BILL... SEN. JACKSON Stem cell nuclear transfer whether for reproductive or therapeutic cloning, is wrong and immoral! The mob cheers.

94.

EXT. COMMERCIAL BUILDING - ROOFTOP - CONTINUOUS Yaakov aiming what could be described as a black surgical implantation ballistic weapon, with an attached telescope and a sharp needle for a barrel, over the parapet. U is there with him. Seated with his back against the frame of the access stairway. He looks bored as he plays with his tanto blade. EXT. PUBLIC SQUARE - CONTINUOUS SEN. JACKSON I find this practice abominable and offensive, not only to Gods exclusive right of creation and power over life, not only to females whose bodies are reduced to chambers for growing human eggs, and certainly not only to the supplying progenitor who perhaps is already too deceased to give his consent, but more importantly, of the life that results. His existence an assault to his or her individuality -EXT. COMMERCIAL BUILDING - ROOFTOP - CONTINUOUS Yaakov peering down the guns telescope. SCOPE A green duplex crosshair is centered high above one of the gold concrete spheres several inches to Sen. Jacksons right. YAAKOV (O.S) Gravity... dont let me down. BACK TO SCENE Now Yaakov is still as the air. His breathing slowed down. His focus steady and unshaking as he bides for the perfect window to take the killshot... He then, squeezes the trigger. The nozzle chirps, spouting the projectile.

95.

EXT. PUBLIC SQUARE - CONTINUOUS SEN. JACKSON So imagine a world where, like your signs say, babies are manufactured like candy bars and become... The targeted gold sphere faintly sparks... SEN. JACKSON (CONTD) Saleable commodities purchased -He feels the impact of something against his body. His sudden pause causing his undiscerning PSD to stare his way. The crowd wondering to themselves as well. Lightly rubbing his right shoulder, he trudges on. SEN. JACKSON (CONTD) Purchased by the highest bidder. EXT. COMMERCIAL BUILDING - ROOFTOP - CONTINUOUS Yaakov, in a crouch, swiftly dismantling the weapon and packing it back into a black canvas bag... YAAKOV Lets go. U gets off his ass. Yaakov swings the bag over his shoulder. He straightens and turns to leave when --- U JAMS his short sword through his midriff. Yaakov, shocked. Cold hard steel through his gut. He grunts as U twists it to inflict irreparable damage and pulls him away from the parapet. Sandwiches him against the wall of the access stairway. YAAKOV So... this is it? U Im sorry. I cant take any chances either.

(CONTINUED)

CONTINUED:

96.

Yaakov manages to reach into his leather jacket pocket. U further impaling him, pushing in the tanto harder. Yaakov fighting the urge to give in, brings out a wallet. U sees it. Puzzled but relaxes a bit. Yaakov thumbs through the wallets contents for a small photograph. His hand shaking, as he extracts it and... ultimately, presses it against Us sweaty forehead. YAAKOV (Looking at the picture) You just made thr-- three little boys -- fatherless -- in one beat. PHOTOGRAPH The lovestricken couple of Yaakov and Netanya as he cups her baby bump in a photo booth. BACK TO SCENE Us countenance softens. Second-guessing his action as he stares into Yaakovs dewy eyes. He DIES. U lets his body down against the wall. Slowly removes the sword. Continues staring into Yaakovs eyes before bothering to peel off the picture on his head. He looks at it intently for a while... Then glances back into Yaakovs dead eyes. Shuts it for him. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - DOLORES OFFICE - EVENING Imagine Dragons Nothing Left to Say introduces --- Dolores reclined in her chair behind a mahogany desk. She remains silent for a LONG while... and then... DOLORES (Chuckles) Incredible. VELVEL (V.O) Permission to take him out.

(CONTINUED)

CONTINUED:

97.

DOLORES Dear God, no... He wants his revenge, let him come. But bring in the girl. VELVEL (V.O) Copy. A faint pensive smile on her face. INT. APARTMENT BLOCK - HALLWAY - NIGHT Passing neighbors casting glances at a direction... IMAGINE DRAGONS (V.O) "Who knows how long, Ive been awake now?/ The shadows on my wall dont sleep/ They keep calling me. Beckoning (echoes)..." ... At U, whos ambling down pensively. IMAGINE DRAGONS (V.O) "Who knows whats right? The lines keep getting thinner/ My age has never made me wise/ But I keep pushing on and on and on..." INT. US STUDIO APARTMENT - DOORWAY - NIGHT U, still in the same clothes, sits with his back against the wall. Rocking his body back and forth with his head buried in his arms. Empty beer bottles keep him company. IMAGINE DRAGONS (V.O)(2CE) "Theres nothing left to say now!(2ce)/ Im giving up, giving up, hey, hey, Im giving up now (2ce.)" The rocking soon wanes... to a stop. INT. APARTMENT BLOCK - HALLWAY - NIGHT The door to Us flat swings inward. Deafening silence. Steps out into the hallway.

(CONTINUED)

CONTINUED:

98.

IMAGINE DRAGONS (V.O) "Below my soul, I feel an engine/ Collapsing as it sees the pain/ If I could only shut it out (echoes)" Hes stalking someone. IMAGINE DRAGONS (V.O) "Ive come too far, to see the end now/ Even if my way is wrong, I keep pushing on and on and on..." A glazed over expression on his face. INT. APARTMENT BLOCK - STAIRWELL - CONTINUOUS Not all the lights work. U follows the unsuspecting target down the many flights... IMAGINE DRAGONS (V.O)(2CE) "Theres nothing left to say now! (2ce)/ Im giving up, giving up, hey, hey, Im giving up now (2ce.)" Finally, on the edge of a brighter landing, the target turns around. Slowly. IMAGINE DRAGONS (V.O) "I keep falling, I keep falling down (2ce.)" U, staring at him wistfully. Yaakov staring back. One hand on the banister... The other on a stomach bleeding profusely. IMAGINE DRAGONS (V.O) "I keep falling, I keep falling down (2ce.)" U takes a step toward him. To help. IMAGINE DRAGONS (V.O) "Can someone save me? IM DROWNING IN THE WATERS OF MY SOUL!!!" Yaakov steps back and bowls down the staircases. Taken aback, he rushes down after him...

(CONTINUED)

CONTINUED:

99.

IMAGINE DRAGONS (V.O) (Music Fades) "Theres nothing left to say now! (2ce)/ Im giving up, giving up, hey, hey, Im giving up now... Cradles Yaakovs head with shaking arms. But Yaakov... is still dead. His eyes open. Just like they were... yesterday. U (Teary-eyed) Im sorry. But U doesnt awaken to the fact theres no one in his arms. INT. INTENSIVE-CARE UNIT - LOBBY - MORNING CHIEF PHYSICIAN AND HIS RESIDENT SPECIALISTS speed-wheel someone on a gurney with a drip down the hallway. RESIDENT #1 Emergency! Get out of the way! Cutey-Pie runs after them with his hand stretched out... CUTEY-PIE (Crying) Dad, please, no. Senator Jackson breathing painfully on the gurney. Dark brown stripes and blotches forming all over his body as blood seeps out through bluish-black swellings. CHIEF PHYSICIAN Somebody get that kid back! One of the residents leaves the senators side to stop Cutey-Pie from following them into the operating room. Carries him... And gives him to his GRANDMA (NANA) who eventually catches up. Sobs in his grandmas arms. She holds back tears. INT. APARTMENT BUILDING (UTAH) - NETANYAS APARTMENT - DAY A heavy Netanya unbolting the door latch. To let a clean-shaven U in.

(CONTINUED)

CONTINUED: U (Kissing her) Hey NETANYA Hey (Locks the door) Complications?

100.

Scanning the apartment as he proceeds into the living room. U No, uh, just came to get something... Antidotes. NETANYA Antidotes for... (He enters an inner room) ... What? INT. NETANYAS APARTMENT - BEDROOM - CONTINUOUS U ferreting about in a closet. Drawers... Netanya comes in worried. U (Gets a thought) Of course. Brushes past Netanya. Abandoning her at the doorway. INT. NETANYAS APARTMENT - KITCHEN - CONTINUOUS REFRIGERATOR No antidotes in there either. Just victuals. U (O.S) Shibbal. BACK TO SCENE U straightening himself when he hears a click sound. NETANYA (O.S) Dont move. U, a bit stunned. Netanya pointing a Glock at him. (CONTINUED)

CONTINUED:

101.

NETANYA (CONTD) We meet at motels... You never come over. Youre the clone, arent you? Wesley. U Im not the clone. NETANYA Not to me. Next question youll tender a satisfactory answer or, youll be redecorating these walls with bodily fluid. Wheres Yaakov? He doesnt say anything. NETANYA (CONTD) Its already cocked. My next finger action is to the trigger. (Nothing still) Answer me! Where is he?! U Hes dead. The words shock her. Numbing her for seconds. NETANYA (Incredulously) Wrong ans -She jerks from a sudden sharp pain in her belly. U, puzzled, glances downward. Water between her feet on the wooden kitchen floor. She looks up at U aghast. Cries out as another cramp hits. INT. APARTMENT BUILDING - CORRIDOR - MINUTES LATER U, helping Netanya walk through the painful contractions. STAIRWELL Netanya protesting loudly as they dismount the third flight. On the landing, U reflexively glimpses out the window. WINDOW Two men in black, swagger from a white SUV across the street toward the apartment building. (CONTINUED)

CONTINUED:

102.

One of them, bald. The other in front of him, Velvel. BACK TO SCENE U recognizes the face. EXT. SIDEWALK - SUNNY Upon reaching the buildings facade, Velvel goes up the stoop while the baldie leans on one of its bullnoses and unfolds, to read, a newspaper like an innocent bystander. INT. APARTMENT BUILDING - NETANYAS APARTMENT - CONTINUOUS U hurries in alone sans Netanya. LIVING ROOM Hustles through to the kitchen. KITCHEN Snatches the Glock handgun off the Formica countertop. INT. APARTMENT BUILDING - ELEVATOR LOBBY - CONTINUOUS Velvel waits for the lift. Soon deduces its out of service. INT. APARTMENT BUILDING - APARTMENT 032 - CONTINUOUS U makes it back armed. Manages to shut the broken door. Netanya can be heard groaning. INT. APARTMENT 032 - BEDROOM - CONTINUOUS Netanya wails with a gagged mouth. Sweating profusely with short breaths. Fists full of bedsheet. U enters and discovers... U (Horrified) Shibbal. Puts down the Glock and quickly climbs onto the bed.

(CONTINUED)

CONTINUED:

103.

U (CONTD) The head is out. Come on, push. Netanya, grunting her heart out. A few more pushes, and U cradles the wailing blood-drenched neonate out with its umbilical cord. He opens his eyes at U. Theyre blue. U, mesmerized. Netanyas renewed screaming under the kerchief soon has him back to the present. U (CONTD) (Places the baby in her arms) Its a boy. But Netanya is far from content. He draws down the kerchief. NETANYA (Gasping) Theres one more, ya son-of-a-bitch! U. Flabbergasted. INT. APARTMENT BUILDING - NETANYAS APARTMENT - CONTINUOUS Velvel coolly scouring the flat. The living room. The kitchen. Rooms. Wardrobes. Alcoves. The fire escape... INT. APARTMENT 032 - PASSAGE - CONTINUOUS U emerges from the makeshift delivery room fairly exhausted. Dashes off, with the Glock back in his palm. INT. APARTMENT 032 - FIRE ESCAPE - CONTINUOUS Steps halfway out onto the steel platform. Looks below. BELOW Two suspect characters bookending the pathway out. BACK TO SCENE U slinks back into the apartment.

(CONTINUED)

CONTINUED:

104.

Pads over to a shelf of vinyl records in the corner and leans on it. Presses the Glock into the right side of his stomach. Same part he got shot as a kid. Inhales intensely. Swallows hard. Then blows his meat out. The noise triggers a crying effect from the babies while he reels from the agony. Lies on his back, clutching the wound. Now on the floor, he waits with eyes shut. Faint footsteps are heard... They get closer. INT. APARTMENT 032 - DOORWAY - CONTINUOUS Velvel swings open the door. The other hand in his jacket. Cautiously treads in. One baby crying in the background. Sees U laying there on the floor. Dead? Reaches his body. Glances around, analyzing the situation. Stoops to force the Glock, with his gloved hand, out of Us tight grip before probing his neck for a pulse. VELVEL The next time I aim a weapon at you, youre gonna be still, and its gonna be a clear shot. So hang in there, boy. Much worse is to befall you. He stands. Ejects the magazine from the Glock. Snatches the snub-nose as it springs out of its chamber. Pockets them and drops the voided Glock before leaving the body to trace the noise. INT. APARTMENT 032 - PASSAGEWAY - CONTINUOUS Checks the rooms. Not a living soul. He continues down the corridor and the noise ceases. He pauses for a second... before proceeding. INT. APARTMENT 032 - BEDROOM - CONTINUOUS Ambles in on --- Netanya breastfeeding her babies. VELVEL (Chuckles) Hello, Netanya. (CONTINUED)

CONTINUED:

105.

(He terrifies her) We didnt think wed see you again. Advancing towards her, he moves his hand around in his jacket and brings out a mobile ph--- Then brusquely turns around to kick back U whos lunging forward with a knife. Us back hits a bureau loudly enough to irritate the babies. He cringes over his self-inflicted injury. Almost attempts another swipe when Velvel holds him at bay with a muffled gun. VELVEL This bring back memories? NETANYA (O.S) Stop, please. An enraged U charges regardless with a salvo of hand attacks. Most of which Velvel counters. Netanya carries her babies and eases out of bed. Then, limps for the door... Velvel is distracted and U lands a few bone-crushing blows to his cheek followed by a swooping kick to reconstruct his nose. But Velvel recovers fast enough to elbow down a flying arms inner elbow, leaving him with an open to jab U in the throat with his foreknuckles. U chokes. Almost in the same breath, Velvel blasts Netanya in the back thigh. She falls near the doorway with the babies. One of them rolling off her arms onto the bare floor. Velvel refocuses on U, who whips the pistol out of his hand with an umbilical cord and slaps him with the second in the face. He swings them around like nunchakus, beating Velvel as he advances toward him. He charges at U, who eschews his attack and garrotes him from the back with both cords. Velvel, unable to break the hold, rams Us back against the wall a few. Throws him to the floor. Finds his handgun while U writhes there in pain and lifts him up by his collar. Spins the pistol by its trigger guard to meet Us head with a series of pistol-whips. Jams the attached silencer down his mouth. Punches his jaw in a couple. drags him past Netanya, whos crawling towards her other child, extracts the weapon from his mouth and punts him out of the room. PASSAGEWAY

(CONTINUED)

CONTINUED:

106.

He tries to make it back on his feet but Velvel is soon hovering over him. Pointing the weapon. U You gonna shoot that thing? VELVEL Im yet to deci -Velvels groin, Us shin. U kicks his knee in. Velvel deflecting the third leg strike, commences stomping U in the head and midriff like you would a resilient cockroach. U endures the assault to catch Velvels leg. Kicks him so hard in the groin thrice, he drops his gun. Rises on one knee with his attacker still recovering. Velvels leg in his arm, heaves him up, bashes him through the toilet door and onto the porcelain water closet. Breaking it. U pounds his face. Velvel wont have any of it though. Pulls U closer into a migraine-inducing head butt. Lands another skull smasher. U returns the favor. Leaving them both dazed. Velvel snaps out of it quicker. Charges at U and knocks his back against the wash-hand basin. U screams! His body limp from the throbbing ache but Velvel wont let him off with that. VELVEL (Pinning U to the sink) Youre both coming with me, Wesley. U screams even louder as Velvel dips his index into the bleeding gun wound on his side. He adds his thumb and widens the hole. U, at his utter mercy, grabs his jacket, shaking. In place of calipers, Velvels fingers worm their way around his wound... And finally emerge with the bullet. U drops to the floor unconscious. Bleeds all over the tiles. INT. IVF INSTITUTION - DR. EARL-TALLEYS OFFICE - DAY Dr. Earl-Talley, backing his desk, has a phone to his ear. He listens intently. His countenance organically morphs into one of fury. Huffing and puffing, he bangs the receiver back onto its cradle multiple times... Calms down... Then ruminates..

107.

INT. US STUDIO APARTMENT - DOORWAY - NIGHT Claudette, surprised to find the door unlocked, lets herself in. She bends to grab one of the empty beer bottles that greet her by the door. Wielding it like a weapon as she charily proceeds forth. PARLOR The only source of light is the agape table-top fridge. Claudette reaches it. Picks the folded paper atop it and crouches to read its content. Its the blueprint. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TORTURE CHAMBER - NIGHT Wire specula rigidly hold open a pair of eyelids. The subjects pupils are barely visible. U is out cold. His pupils soon settle back in the middle as he gradually regains consciousness. Theres a projector screen facing him. Evocative of a medieval dungeon, the windowless brick walls are curved into the arched ceiling like a concrete dome. U is constrained to a steel chair. Barechested with the bullet wound on his stomach neatly bandaged. Unable to move his head, all he can do is grunt behind the leather fetters. INT. CLAUDETTES CAR - MORNING Claudette drives. Shes a tad flustered. CLAUDETTE (To herself) Claudette, what are you doing? Just go back home and wait till he gets back. WINDSHIELD Theres another road to the left in front. CLAUDETTE (O.S)(CONTD) Stop being such a fucking groupie.

(CONTINUED)

CONTINUED:

108.

She flicks on her trafficator. Upon the turn, she steers the wheel leftward... then abruptly veers back, almost causing an accident behind her. BACK TO SCENE Cars honk in protest. CLAUDETTE Lord help me. Im in fucking love. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TORTURE CHAMBER - DAY PROJECTOR SLIDE SHANDRA (CONTD) (To Dr. Earl-Talley) Hes in love with Tom. Im not gonna be the one to take a second father away from him. Dr. Earl-Talley downs the untouched whiskey in his hand. Sets it down on a nearby glass table. BACK TO SCENE U, still fastened to the chair, watches dreadfully. He knows whats coming next. DR. EARL-TALLEY (V.O) (Nervously) I understand... SHANDRA (V.O) (Concernedly) Gerald, are you okay? PROJECTOR SLIDE DR. EARL-TALLEY Dolores was going to get rid of you but I pleaded with her to allow me change your mind... or I would myself. SHANDRA Im a founding partner, Gerald. Go back and tell the bitch its impossible. Dr. Earl-Talley rises from his seat. Starts approaching her. (CONTINUED)

CONTINUED:

109.

BACK TO SCENE U cant bare it anymore but the belt strapped around his neck and the contraption holding his eyes open wont budge. DR. EARL-TALLEY (V.O) That was not... what she meant. PROJECTOR SLIDE Dr. Earl-Talley hovering over a seated and frightened Shandra... U (O.S) No. Earl-Talley slides the R9 pocket-pistol out of his jacket. DR. EARL-TALLEY Im terribly... sorry for this, Shandra. Shandra, petrified to utter a syllable. U (O.S) No. No! No! -He shoots Shandra in the neck... Then forehead. DR. EARL-TALLEY Shit. BACK TO SCENE Us eyes drowning in tears. Forced to relive the horror. This time more vividly. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - RECEPTIONIST AREA - DAY The receptionist handing Claudettes ID to her over the desk. RECEPTIONIST Third floor. Elevators down the hall. CLAUDETTE (Collects it) Thank you. ELEVATOR BANK (CONTINUED)

CONTINUED:

110.

While waiting, fetches the blueprint from her bag. Unfolds it for one more perusal. She waits... It opens. Its empty. She enters and the doors... converge. FADE OUT. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TORTURE CHAMBER - EVENING The reality show on the slide still screening on an endless loop. U, passed out, comes out of it. His pupils centralizing... PROJECTOR SLIDE The grainy rendering of the execution trips off. The slide shrinks as... BACK TO SCENE ... The lights wax brighter. He hears the door being unlocked... Now open, Dolores and Velvel flow in respectively. Velvel loosens the ocular contraption on him. He shuts his red sheeny eyes to quell the burning sensation. Water, not crying tears, streak down his gaunt visage. Dolores stands several inches away. Hands folded behind her. DOLORES I believe weve never met before... Im Dolores. U flutters those fiery eyes open. Glowers at this Dolores before him. If only looks could kill... DOLORES (CONTD) You must be Wesley. "Beautiful boy, incurable stubborn." She wasnt wrong about that as you must have got it from her. The stubborn part. He buckles in anger. Tries to wrestle free.

(CONTINUED)

CONTINUED: DOLORES (CONTD) (Pensively) She wouldnt shut up about you... Couldnt. There were moments I wondered what it would feel like. (Beat) Believe it or not, I empathize with what you had to endure. And apparently still are. U Have all the fun you want. It wont last. You and your bullshit empathy. DOLORES Yes, I am enjoying this but theres no bullshit. (Beat) See, I experienced a similar horror myself at a tender age. Gagged and made to listen, as a stranger had his way... with my mother. He got off, did his zipper, his belt buckle... and left. He was enormous. We couldnt do anything about it, so we made our peace with it.

111.

She takes a few steps forward. Farther into the shed of light. Then removes one hand from her back to brandish Claudettes crudely severed head. Holding it up by its hair. DOLORES (CONTD) Do you know this girl? Us face instantly turning pale at the sight. VELVEL Was she your girlfriend? DOLORES Only a girl crazy in love would have done what she did. VELVEL Shandra would have approved. U Ill fucking kill you. Both of you! Like Perseus with Medusas, Dolores saunters to him with the decapitated bonce. Bends over slightly to undo his zipper...

(CONTINUED)

CONTINUED:

112.

DOLORES (Pulling out his penis) Relax. Starts rubbing it hard... Velvel watches. Trying not to be aroused. DOLORES (CONTD) (She finally pauses) Ah... just like a caterpillar. (Beat) That didnt take too long. VELVEL (Hes normalized) You think itll fit? That mouth is wide open. Dolores screwing on Claudettes head over his boner. U (To Dolores, breathlessly) Dangsin-i segseuleulhamyeon apeun bil-eo meog-eul byeontae saekki!!! Dangsin-eun jug-eoss-eo! Maengse!!! "Fuck you, you sick fucking pervert bitch. Youre fucking dead. I swear it." Pretty much. DOLORES The teeth, huh? I know. (Velvel sniggers) Nothing puts me in the mood more than a torture session. She straightens, backs away and nods at Velvel, who brings out a hypodermic syringe from an inner pocket. U What about Yaakovs girl, huh?! You kill her too? DOLORES Soon enough. (Beat) Its 4:45. Your heart stops in about an hour and a half. Last five minutes of which will be the longest of your life. Velvel approaches with the syringe. Transpierces Us shoulder with the needle as he tries to wriggle free. (CONTINUED)

CONTINUED: Dolores makes for the door. U (O.S) I wasnt coming for you. DOLORES (Turns back) What was that? U (Glares at Velvel) I was coming for... him. DOLORES You blame him for Shandras death? I didnt merely greenlight her execution, I gave the order. U I know. And since you had us bugged the whole time, youll probly also know she raised me better than that. Never to hit girls. DOLORES (Irritated) Nice try. U Without him, youre nothing. You think youre in control but youre not. You slip up, he makes a call to headquarters, youre gone. (To Velvel) Yaakov told me you tell him everything. He told me everything too.

113.

Dolores sighs, swiftly pulling out her pistol. Aims it at Velvel whos not as lightning quick. VELVEL Youre really gonna believe this? DOLORES (Chuckles) It doesnt matter. All Ive only ever needed was a reason. (Beat) You know very well what I can do with this. So toss it. He turns the trigger guard back on. Lightly throws it.

(CONTINUED)

CONTINUED:

114.

DOLORES (CONTD) (Catching the gun) Now... unstrap him. Reluctantly complying, flings off Claudettes head and undoes every buckle. Dolores brings out a cellular phone... INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MONITORING STATION - CONTINUOUS A phone rings. An operator puts it on speaker. DOLORES (V.O) Every eye in room fourteen, take em out. OPERATOR #1 Copy. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TORTURE CHAMBER - CONTINUOUS She fires rounds into a wall-ceiling intersection. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MONITORING STATION - CONTINUOUS CCTV #7 Dolores shooting in its direction -OPERATIVE #1 (O.S) What the -The visual trips off. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - TORTURE CHAMBER - CONTINUOUS Dolores after emptying her pistol, starts with Velvels. Discharging the shells on the floor near the door... U and Velvel both stand there, puzzled by her action. She drops the handguns and looks at U.

(CONTINUED)

CONTINUED:

115.

DOLORES Third floor. Storage room in the incubation chamber. Thats where the antidote is. (Removing trench coat) But only one of us is leaving this room. (Tosses it) I am in control! Her words settle... U charges. Velvel tries to kick him back. He dodges and they duke it out, blocking each others moves, before Dolores jumps in to grab Velvel by his head, bloodying his face with multiple strikes. Dolores faces U, parrying his every attack so powerfully, his knuckles and shins ache. He tries one more time, she ducks and shoulder tackles him into the wall. Pins him and follows with a flurry of punches to his torso. A fuming Velvel pads up behind her. She doesnt see him as he wraps her ponytail around his clenched fist and yo-yos her by it, returning the favor with a backhand to the jaw. Third times almost a charm but she hooks his arm with hers, headbutts him and leaps up to straddle his neck in some kind of leg grab. Suspended from his neck, she tightens the sleeper hold. Velvel repeatedly rams her back to the concrete ground but nothing gives. He falls on his knees asphyxiated while U is alone in the shade of the corner. Recovering from the erstwhile abdominal decimation, he hears a voice -YAAKOV (V.O) ... You dont hold a candle to Dolores... Or Velvel... You held back that night... cos you didnt believe in yourself. (Yaakov whispers in his ear) Thats... how I beat you! Rattled, he looks beside him. No Yaakov... He soon finds his footing as Woodkids Iron song ushers in a change in his disposition. More confident now, U charges ahead. Using Velvels back as a springboard, thrusts himself upward. Tries to crush Dolores face in. She clocks this and releases Velvel to evade the impending stomp.

(CONTINUED)

CONTINUED:

116.

The tom-toms in the soundtrack BOOM OUT! U and Dolores face each other squarely. Shes certain of victory... WOODKID (V.O) "Deep in the ocean, dead and cast away/ Where innocence is burned, in flames/ Im waiting for the call, the hand on the chest/ Im ready for the fight, and fate." He LANDS A KICK so hard, she loses a tooth. Enraged, she rushes him but its like hes acquired a new set of skills and becomes impossible to touch as he bobs and weaves... WOODKID (V.O) "From the dawn of time, to the end of days/ I will have to run, away." Sneaks in more bonebreaking hits, with his ballet-style Tae-Kwon-Do. WOODKID (V.O) "I want to feel the pain and the bitter taste/ Of the blood on my lips, again." Does a triple backflip, hitting her thrice in the chin. She staggers all the way back in rhythmic SLOW-MOTION to the beat. Velvel bearhugs him from behind. Squeezing the life out of his lean frame. U fights to slacken the arms bound around him. Velvels grip waning. He sinks his teeth into Us neck. Theres blood. U screams. Crashes his elbows in Velvels temple. Disoriented, Velvel swings. A furious U seizes his arm and fractures it. Turns him around with it. Ensnares his head. The music is ABRUPTLY STOPPED the second he BREAKS IT. ONCE. THEN TWICE... ONE MORE TIME for good measure. Velvel drops to his chest with his neck locked halfway to his back. And for the first time, Dolores is afraid. Blood on her chin. Panting, he faces her. DOLORES I thought you didnt hit women. He says nothing. Just that signature glare of his. She glances at the guns lying fallow on a bed of bullets. (CONTINUED)

CONTINUED:

117.

U trails her gaze... Puts two and two together. One of them isnt completely empty. She dashes for it. U, fast enough, punts it off as she grips the handle. It hits the ceiling. Headbutts her away. An assortment of spinning ballet kicks from her face to her gut follow. Clinches her flying foot, breaks her knee and sweeps her to the ground. Mounts her. Savagely mashing her face like tomatoes with bare, hard knuckles until he sights the gun nearby and goes for it. Shes still breathing. Her face damaged beyond recognition. He returns with the weapon. Kneels between her parted legs. Undoes her belt. Then the buttons to her pants... She mumbles in protest. Too weak to react. U (O.S) I bring you fond memories, Dolores. (Holding up the gun) Youre gonna show me exactly... how it feels... to relive them. And with that, he lowers the gun and inserts it in her vagina. She wiggles, mumbling louder as U squeezes the nozzle through. Further and further in. He STOPS. Shes in excruciating pain. He glares at her for seconds. ... Then begins BUSTING SHOTS AND OFFLOADING THE REST OF THE BULLETS in her belly... They exit the crown of her head. The gun, emptied. He continues pushing the trigger. Still angry. A sharp cramp in his side causes him to stop and bend lower, unknowingly avoiding an incoming projectile that whooshes past his shoulder. On the floor with the crippling pain in his solar plexus, he manages to turn around... A disheveled Earl-Talley standing there. Leveling a gun at him. DR. EARL-TALLEY (Scanning around) Looks like Karma beat me to it... He walks over to Dolores. Bends over her corpse.

(CONTINUED)

CONTINUED:

118.

DR. EARL-TALLEY (CONTD) You thought you were so insuperable. Eliminating anyone whose face you didnt like... (Shoots her face) Who got on your nerves... One bullet for each tit. Then pads to Velvel. DR. EARL-TALLEY (CONTD) Who said too much!... Lodges four in the corpses jaw. Moves on to U. U tries to run but the spreading leathal poison wont let up DR. EARL-TALLEY (CONTD) (Chuckles) You should be so lucky. (Crouches beside U) I created you. I made you. All of you! And this the thanks I get?! (Showing him the gun barrel) They say God gives and He takes. So now Im taking... the way you took my only child from me. U (With bated breath) It... wasnt me. DR. EARL-TALLEY I have proof! You slept with him! Thats how you got to him. U Believe me, I wish To get to you. The me. (Earl-Talley, The way you got to Gerald Id done it... way you got to confused) my mother, Uncle

Earl-Talley is taken aback. Delighted almost. DR. EARL-TALLEY You -- you survived? U, feeling some respite, snatches the pistol right out of his palm to press it against his jaw. Earl-Talley freezes.

(CONTINUED)

CONTINUED:

119.

U (CONTD) Im not Yaakov. INT. INTENSIVE-CARE UNIT - SEN. JACKSONS WARD - NOON Cutey-Pie sits by his fathers bed. Staring at the unconscious figure in front of him. CUTEY-PIE Dont worry, dad. The doctor said youre gonna be well soon. And then nana and I can take you back home. (Thinks of what more to say) Mom came by today. She thought I would be in school so, she left early. LOBBY Nana talks with the chief physician. NANA I really cant tell you how much we appreciate what youve done, doctor. Saving my sons -CHIEF PHYSICIAN (Cutting her off) Mrs. Jackson... (Uncomfortably) I couldnt tell you in front of your grandson. But I think its best you both start saying your goodbyes. NANA (Dazed) But, but, I thought you said that he was... CHIEF PHYSICIAN We only managed to retard the effects of the poison. Theres nothing more we could do. (Beat) He has a few hours left. NANA And how much is a few? Five? Six?

(CONTINUED)

CONTINUED:

120.

CHIEF PHYSICIAN Maybe three. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MONITORING STATION - SECONDS LATER CCTV #8 The doctor, at gunpoint, steps out from the torture chamber into the first floor corridor... OPERATIVE #2 (O.S) Thats the doctor. Whats he doing? U, comes into view, behind him. BACK TO SCENE OPERATIVE #3 Yaakovs escaped. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - RECRUITS QUARTERS - CONTINUOUS A MONTAGE of Mossad trainees -OPERATIVE #1 (V.O) Attention guards and Kidon recruits. -- Quickly responding to the alert. OPERATIVE #1 (V.O) Theres been a breach. Intruder has hostage and is heading up the second floor. Except Ephraim, whose friend, Ishmael, was mercilessly shot up to bits by Dolores. OPERATIVE #1 (V.O) Intercept and recapture the threat. I repeat -INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - 2ND FLOOR CORRIDOR - CONTINUOUS U wincing through the spreading poison. Leading the doctor across the long-winding hallway...

(CONTINUED)

CONTINUED: U Whats the time? DR. EARL-TALLEY (Checks his watch) To six... Five minutes to six. (Beat) Wesley, Im sorry. I never meant --

121.

Exerts force on his lower back with the gun. He shuts up. They turn a corner and... A gang of trainees coming for him. He quickly puts the doctors neck in a hold, pushing the gun in his ear while heading back in the opposite direction --- Now cordoned off by a few armed SECURITY GUARDS. They train their Galli rifles on him. The trainees closing in. U Get back! TRAINEE #1 (Surprised) Yaakov? GUARD #1 Release the doctor, sir. U Get back! All of -The piercing pain in his body recurs. Earl-Talley jabs him in the side and runs to the trainees... U rests on the wall, gasping. GUARD #1 Take him. Two of the guards move to seize U. Trainee #1 looks at his peers. Charges at the guards as they grab U by the arm. He takes them down in one fell swoop but gets riddled with shells by the other guards. The other trainees are angered and it quickly degenerates into a riot between them and the guards who cant shoot them down fast enough. Earl-Talley fears for his life and absconds.

122.

U wrestles himself back to his feet... INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - MONITORING STATION - CONTINUOUS The three operatives watch the insurgence ensue. OPERATIVE #3 (Makes for a phone) Fuck! Were gonna need reinforcements. OPERATIVE #1 (Peremptorily) No. We leave quietly. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - PASSAGE - CONTINUOUS Theres a GUARD knocked out on the floor by a door. MATERNITY WARD Ephraim barging in... El-Baz, examining the WARD GIRLS cuffed to thir beds, spots Ephraim. EL-BAZ This is a restricted area, you -Ephraim shatters his jaw with a heel-kick. He faints. With the guards keys, frees the girls. Some still pregnant. NETANYA (O.S) Ephraim. He sees her. Rushes to her side. EPHRAIM (Uncuffing her) Netanya, you okay? INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - STORAGE ROOM - CONTINUOUS Everywheres darkly lit in luminescent blue. U runs toward a phalanx of labeled cryogenic devices.

(CONTINUED)

CONTINUED:

123.

He opens one... and its filled with all sorts of packaged syringes... Just like the others. Perplexed, U falls to his knees. He grabs whichever nonetheless... but the pain comes back with a vengeance. Drops his gun as it throws him on his back. Writhing moulting bursting mouth... in pain, the skin on his left forearm tears like a snake. His finger nails peeling off. Bubbles of pus through flesh. Convulsing and foaming at the Hes too late.

All he sees now is a blurry apparition of his mother. She stoops by him. SHANDRA (Caressing his face) Im proud of you, dear. You did it. (Beat) Dont worry. The kids dads gonna be... Suddenly, his body buckles like hes been stabbed... Then, he gives up. FADE OUT. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - STORAGE ROOM - SECONDS LATER Someone holds open Us eyelids. His pupils half-visible. DR. EARL-TALLEY (O.S) Those eyes... Woulda been such a loss. Earl-Talley straightens himself INTO FRAME. Looking down. Tosses a depleted syringe on the floor near U. Hes barely conscious. Earl-Talley, staring at him for a while. Then leaves. INT. INTERNATIONAL BUSINESS MACHINES CORPORATION REGIONAL OFFICE - MOSSAD GHOST SITE - 3RD FLOOR CORRIDOR - CONTINUOUS Earl-Talley is walking fast down the hallway toward an elevator when gunfire rings out past him. He stops...

(CONTINUED)

CONTINUED: U (O.S) Stay... where the fuck you are. U limping towards him with his gun. U (CONTD) Theres no redemption for you. Especially you. (Closing the distance) Put your hands up... Turn around slowly. The doctor obeys. DR. EARL-TALLEY You should escape. There are tens of secret Mossad divisions strewn across the state. More will come. U (CONTD) Wrong. This is still a secret base. Last thing your bedfellows want is raising government suspicions. (Beat) You can start explaining yourself now. DR. EARL-TALLEY You wanna hear me say "Im sorry?" Why I did it? Why I cloned you? (Beat) I always took a liking to you, Wesley. Considered you special and hoped one day youd see me as a father. U Save it. She was gonna marry Tom. You were afraid hed find out about the cloning and hed report it. DR. EARL-TALLEY (Flares up) Listen to what Im trying to tell you! It wasnt all just business! (Soberly) I had feelings for your mom. But she knew of my... inadequacy. She didnt see me the same way. U So she didnt love you back. Just like your wife? Thats why you murdered you.

124.

(CONTINUED)

CONTINUED:

125.

DR. EARL-TALLEY My wife cheated on me! U Thats what they had over you, wasnt it? Dolores. The agency. They helped cover you up in return for your services. DR. EARL-TALLEY That days always haunted me. My son is gone and now... I know what it feels like. You cant kill me any more than I am already dead. U (Weeping) You shot my mother... He lets off a shot. U (Shoots again) Twice! (Screams) I should fucking kill you! I should fucking kill you! He squeezes out several more bullets. Earl-Talley is in one piece. The walls suffered for it. U breaks down. Resting on his knees as he cries it all out. DR. EARL-TALLEY Do it then... Do it! The sobbing subsides and U straightens. Wiping his eyes and nose. U (Sniffles) Fuck you. (Beat) Im not gonna keep taking away from others, what you took from me. Cos now... I need your help. FADE OUT.

126.

INT. INTENSIVE-CARE UNIT - LOBBY - MORNING U walking down... INT. TOMS RESIDENCE - LIVING ROOM - MORNING Theres a man in a wheelchair with a PC affixed to it. U is seated opposite him. Staring back in his eyes. The man, TOM, communicates via the computer device with a synthesized voice. His every muscle paralyzed except the ones for his eyes. Locked-in Syndrome. INT. INTENSIVE-CARE UNIT - LOBBY - MORNING U reaches a room door and enters it... INT. TOMS RESIDENCE - LIVING ROOM - MORNING TOM (Through computer) All -- I could do -- was pray. U, moved to tears. TOM (O.S) And hope -- youd turn -- out fine. INT. INTENSIVE-CARE UNIT - SEN. JACKSONS WARD - MORNING U sneaks in. He scans around and on a wine couch lies Kendrick a.k.a Cutey-Pie asleep on his sleeping grandmas lap. INT. TOMS RESIDENCE - LIVING ROOM - MORNING TOM Everyones -- a victim of circumstance -- in life. The best you can do --

127.

INT. INTENSIVE-CARE UNIT - SEN. JACKSONS WARD - MORNING The Sen. Jackson we knew is not the one were seeing. Hes dried up, wrinkled and emaciated with locks of hair falling off his head. Breathing loudly through the tube in his nose. Comatose with one bloodshot eye half-open... TOM (V.O) Is not -- take -- the bait. U plunging a substance down his IV tube with a syringe. TOM (V.O) Or you really -- end up the victim. Cutey-Pie quietly wakes up. Sees U. They make eye contact. And let it linger... INT. TOMS RESIDENCE - LIVING ROOM - MORNING TOM Im so -- happy to see -- you again -- Wesley. Im very -- very -happy. U, unable to speak, swallows back a knot and nods, "Me too." INT. CITY HALL - COUNCIL CHAMBER - DAY Lt. Gov. Hoffspring sits at the high table facing a MASS OF SENATORS. An ANNOUNCER sitting beneath his dais. Voting is in procession. ANNOUNCER (O.S) Senator Lopez? SEN. LOPEZ (O.S) I vote Yea. A green tally is placed in a small box beside her name. ANNOUNCER Senator Woodruff? SEN. WOODRUFF I vote Nay. A red tally beside his name.

(CONTINUED)

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ANNOUNCER Senator Jackson? A REPRESENTATIVE steps up to the empty chair. Leans toward the mic on the table before it. PROXY Nathan Nguyen, with the senators proxy. I vote Yea. Hoffspring smiles. ANNOUNCER With a tally of 42 Yeas, the motion to repeal the Human Cloning Prohibition Act of 2012 has been passed. INT. CLAUDIAS RESIDENCE - FOYER - DAY Claudia and U enter, dressed in all-black. He shuts the door, then follows her... KITCHEN Claudia, at the cooker, readies lunch. U sits at the island, watching her. CLAUDIA You hungry for some pancake? U Im fine. CLAUDIA (Facing him) But thats your favorite. U We just got back from a funeral. Claudettes funeral. She tears up. U doesnt try consoling her. CLAUDIA (Snivels) She always followed her heart. She called it fighting for what she wanted. How could that have ever been wrong?

(CONTINUED)

CONTINUED: U It isnt. Its a good thing. CLAUDIA Well, you ridin on a gravy train right about now, arent ya? Got what you want. (Beat) So, ya still see her round? U My mother? No. CLAUDIA Thats good. Thats very good. Happy as a tick on a dog fer ya. U Claudia... why arent you mad at me... about Claudette? CLAUDIA Cos wadnt none of it yer fault. U I kept pushing her away. If I hadnt -CLAUDIA (Palming his face) No, now, you listen to me. You cant... blame yourself for that. U (Removing her hands) Im not. I just wanna know why you arent blaming me. (Beat) Its because you know you have no right. The only one to blame here is yourself. CLAUDIA Boy, you got some nerve. U I trusted you. It was all bullshit, wasnt it? And she helped out with the flickering the lights? All that stuff that came out your body, the voice... Effects you picked up from Broadway? Claudia knows shes been busted.

129.

(CONTINUED)

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130.

U gets up from his stool. Circles round to sandwich Claudia between him and the island. A menacing look on his face. U You shouldnt take advantage of people like that. CLAUDIA What are you gonna do? Staring into her soul for what seems like an unbearable eternity until eventually... his eyes soften. U Nothing. He kisses her lightly on the forehead. Claudia remains speechless --- As he leaves her. Forever. FADE OUT. INT. COFFEE SHOP (EUROPE) - A YEAR LATER - MORNING At a table, U sits alone with a cup of coffee. Lost in his thoughts. Scowling as usual. GIRL (O.S) (Viennese accent) Hey. U looks up at the girl standing in front of him. TERESA, a pretty young burst of sunshine. TERESA You dance, right? Classical ballet? U Yes. TERESA I thought I recognized you. I was at the show last night. In the audience. U There were twenty-nine dancers on that stage.

(CONTINUED)

CONTINUED: TERESA You were spectacular. U doesnt respond. Just glares at her suspiciously. TERESA (CONTD) (Uncomfortably) I just, uh, wanted to say, great work and, uh... keep it up. Bye. Humiliated, she retraces her steps.

131.

U watches her. Pays more thought to what just occurred. Another Place to Fall by KT Tunstall is cued. Grabs his cup and gets up... Walks over to her banquette. U Hi. She glances up at him. Less softer eyes than before. U (CONTD) My names Wesley. (Beat) Are you expecting someone? TERESA (Sternly) Yes. My boyfriend. U nods slightly. Then eases in to a seat facing her. Shes baffled by him. KT TUNSTALL (V.O) "Are you blind? Blind to me trying to be kind/ Volunteering for your firing line/ Waiting for one precious sign..." They keep staring at each other... KT TUNSTALL (V.O)(CONTD) "The flicker of a smile/ You should try it just once in a while/ Maybe its not quite your style/ Its simply too easy to do/ You might not see it through... ... U cracks a smile at her... (CONTINUED)

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132.

KT TUNSTALL (V.O)(CONTD) "See it through..." Teresa, unable to contain herself, chuckles back. Off U... KT TUNSTALL (V.O)(CONTD) (Chorus) So, oh, oh, find yourself, another place to fall... ... He likes her. THE END. KT TUNSTALL (V.O)(CONTD) "Find yourself up against another brick wall/ See yourself as a fallen angel/ Well I dont see no holes in the road but you/ Find another place to fall..."