<script>
  <scene>
    <scene_description>By Susanna Fogel & David Iserson FIRST DRAFT</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EASTERN EUROPE - OUTDOOR MARKET - DAWN</stage_direction>
    <scene_description>A MAN -- rugged, square chin, hasn't slept or shaven in days. This is DREW THAYER (30s). He wears a thick coat, tries not to stand out. He's not from around here. "Here" is a bleak, locals-only market surrounded by crumbling Soviet-era buildings. Anemic vegetables. Dried meat. Fish. Handmade woolens. This place isn't in a Lonely Planet guide.</scene_description>
    <character>VILNIUS, LITHUANIA</character>
    <dialogue>Drew shouldn't be out in public but he needs to eat. He glances around furtively as he buys a ROLL from a BAKER.</dialogue>
    <character>DREW</character>
    <parenthetical>(Lithuanian)</parenthetical>
    <dialogue>Thank you.</dialogue>
    <scene_description>He sees something in his periphery -- his gears turn -- knows he'll have to run. Or fight. Probably both. He crosses to -- A table of sad Chernobyl-looking shit manned by a skinny LITTLE GIRL -- bootleg Snoopy alarm clock, filthy handmade dolls -- one man's trash... Drew picks up a HAND MIRROR.</scene_description>
    <character>LITTLE GIRL</character>
    <parenthetical>(broken English)</parenthetical>
    <dialogue>Three Euro.</dialogue>
    <scene_description>Drew ignores her, uses the mirror to look behind him -- at a FLOWER STAND there's a THUG. Shaved head. Flat nose from repeated breaks. The kind of man who'd never buy you flowers.</scene_description>
    <character>LITTLE GIRL</character>
    <parenthetical>(broken English)</parenthetical>
    <dialogue>Two? I give you for two.</dialogue>
    <scene_description>Drew puts the mirror down and walks away.</scene_description>
    <character>LITTLE GIRL</character>
    <dialogue>One-fifty... ?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. WOOLEN STAND - CONTINUOUS</stage_direction>
    <scene_description>Colorful clothes sway as Drew slips behind them. The THUG appears... looks around... Then suddenly -- a STRIPED SCARF ensnares his neck. Tightens, tightens -- Thug gasps for air. Drew's behind him -- he's done this before -- Thug kicks, knocks over a table of mittens -- The AGING VENDOR SCREAMS. Then it's over. Thug goes LIMP. Drew holds him by the waist with one hand, swiftly reaches the other to his belt. Pulls out Thug's HANDGUN and lets the dead body fall into a PUDDLE.</scene_description>
    <character>VENDOR</character>
    <parenthetical>(Lithuanian)</parenthetical>
    <dialogue>Savages! You pay for this mess!</dialogue>
    <scene_description>As Drew drops a stack of Euros onto her table... ANOTHER GUY jumps out. Probably his brother. Bigger -- if that's possible. Drew FIRES -- but his target's ready for it and dives behind a BUTCHER'S STAND. Drew FIRES again... most of the bullets hit SALAMI. But his last bullet HITS the guy's CHEST. He falls. Drew calmly moves in to finish the job. Click. Gun's empty. Fuck. As the guy gasps for life, goes for his own gun -- Drew yanks down a SALAMI, smacks the guy's hand with it -- a makeshift bat -- then leaps onto his chest. With one hand, Drew holds the guy's nose -- with the other, shoves the jagged, broken SALAMI DOWN THE GUY'S THROAT. Bad way to die. But at least there's no one coming after him now. Wait. Spoke too soon. From around the corner, a MAN with a horrible 1994 haircut comes at Drew -- GUN BLASTING. Drew DUCKS. He WEAVES. Drew dives around the corner, disappearing. The GUNFIRE keeps coming...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE - LOS ANGELES - NIGHT</stage_direction>
    <scene_description>The GUNFIRE now comes from DUCK HUNT -- the old Nintendo game. We're in a retro arcade-themed bar and the shooter of the ORANGE PLASTIC HANDGUN is AUDREY. She turns 27 today. She decimates duck after duck, insanely good at this game. Unlike every female character in every other movie, Audrey knows exactly how beautiful she is. Like a 7. Maybe an 8 if she wasn't wearing her tacky Hawaiian TRADER JOE'S UNIFORM.</scene_description>
    <character>LOS ANGELES, CALIFORNIA</character>
    <dialogue>MORGAN (27), her best friend, walks over with TWO BEERS.</dialogue>
    <character>MORGAN</character>
    <dialogue>You can't stand over here all night.</dialogue>
    <scene_description>Morgan's parents always told her she could be anything, including a rocket scientist or a supermodel, if she wanted. Morgan totally buys that. Girl has zero insecurities.</scene_description>
    <character>AUDREY</character>
    <dialogue>Why? I'm having a good time.</dialogue>
    <character>MORGAN</character>
    <dialogue>Because it's your birthday party.</dialogue>
    <scene_description>Behind Audrey: some FRIENDS, a half-eaten supermarket cake.</scene_description>
    <character>AUDREY</character>
    <dialogue>Right. And for my birthday, I want to stand in the corner and not talk to anyone who isn't caught up on my life. Everyone's gonna ask me what I'm up to cause that's what you do, and I'll have to tell everyone that I'm not up to anything.</dialogue>
    <character>MORGAN</character>
    <dialogue>Audrey...</dialogue>
    <character>AUDREY</character>
    <dialogue>Look at me. I'm twenty-seven years old and I work at Trader Joe's. I wear a Hawaiian shirt to work and I am neither Hawaiian nor Jimmy Buffett. Like, three years ago what I'm doing was considered "finding myself." Now I'm suddenly at the age where people feel bad for me for doing the exact same thing.</dialogue>
    <character>MORGAN</character>
    <dialogue>Who feels bad for you? I'll kill them.</dialogue>
    <character>AUDREY</character>
    <dialogue>My parents called today. They spent five seconds saying happy birthday, and the next forty-five minutes bragging about how my brother Adam is about to cure Cystic Fibrosis.</dialogue>
    <character>MORGAN</character>
    <dialogue>Fuck Cystic Fibrosis.</dialogue>
    <character>AUDREY</character>
    <dialogue>Actually, it's a really serious disease. Adam has a huge heart.</dialogue>
    <parenthetical>(sighing)</parenthetical>
    <dialogue>And everyone's gonna ask about Drew.</dialogue>
    <character>MORGAN</character>
    <dialogue>Fuck Drew. That guy was a dick.</dialogue>
    <character>AUDREY</character>
    <dialogue>You're just saying that to make me feel better. You never said that when we were together.</dialogue>
    <character>MORGAN</character>
    <dialogue>Well yeah. You can't say shit about your friend's current boyfriend. But dude, he dumped you in a text. Objectively, he suuuucks.</dialogue>
    <character>AUDREY</character>
    <dialogue>Or he just wasn't in love with me.</dialogue>
    <character>MORGAN</character>
    <dialogue>Audrey, you control the narrative here. It's all about spin. Look at me. Am I successful? Not in the conventional sense of being like, employed. But ask me what I'm doing with my life.</dialogue>
    <character>AUDREY</character>
    <dialogue>What?</dialogue>
    <character>MORGAN</character>
    <dialogue>Say, hey Morgan, what have you been up to lately?</dialogue>
    <character>AUDREY</character>
    <parenthetical>(flat)</parenthetical>
    <dialogue>Hey Morgan. What have you been up to lately?</dialogue>
    <character>MORGAN</character>
    <dialogue>Getting in touch with my gifts. Voice lessons. Stage combat. So no matter what roles come along in theater, film, or life's journey itself, I'm ready. It's a beautiful thing as a woman to empower yourself like that, you know?</dialogue>
    <character>AUDREY</character>
    <dialogue>Okay that was amazing.</dialogue>
    <character>MORGAN</character>
    <dialogue>Hey, do I have your e-mail? My one woman show is really coming together.</dialogue>
    <scene_description>TESS (27) walks in. She's anorexic, personality-free and a huge cunt. (We're taking back that word, sorry!)</scene_description>
    <character>AUDREY</character>
    <dialogue>Shit. It's Tess. Don't make me talk to Tess. She's gonna do that thing she always does, where she gives me a bullshit compliment then pivots it into something super insulting.</dialogue>
    <character>MORGAN</character>
    <dialogue>Audrey. Spin. You got this. Here...</dialogue>
    <scene_description>She hands Audrey a tube of lipstick.</scene_description>
    <character>MORGAN</character>
    <dialogue>Put this on. Tell the world you're trying. Ideally, you'd change out of your work clothes too but...</dialogue>
    <scene_description>Morgan walks away. Tess is now next to Audrey.</scene_description>
    <character>TESS</character>
    <dialogue>Hey lady! Oh my God, those earrings are so cute! Are those shells?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah...</dialogue>
    <character>TESS</character>
    <dialogue>Where's your adorable boyfriend? You guys are such a surprising couple!</dialogue>
    <scene_description>Audrey just... can't. She takes the plastic gun from the game, puts it to her OWN TEMPLE. Pulls the trigger and dramatically FAKE DIES. Tess has no idea how to react.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VILNIUS ALLEY - DAY</stage_direction>
    <scene_description>Drew runs down stairs down to a rusty basement door. It's locked. Drew turns, sprints back to an overflowing DUMPSTER. He grabs a busted HAIR DRYER. This'll do. He bashes it on the ground til the innards are exposed. Yanks out a HEATING COIL. BACK AT THE DOOR -- Drew picks the lock with the coil. He's fast. Walks in like he owns the place.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT OF LITHUANIAN BROTHEL - DAY</stage_direction>
    <scene_description>A tall LATEX-CLAD DOMINATRIX clicks a REMOTE CONTROL. Across the room: a MAN suspended from a harness wearing only underwear, tattoos and piercings -- his nipples hooked up to electrodes. He screams in pain/gratification. Nonplussed, Drew brushes past -- grabs a WHIP, CHAINS, and a SPIKED COLLAR for later use. He shoves them into his jacket.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LITHUANIAN BROTHEL - DAY</stage_direction>
    <scene_description>Upstairs, WOMEN IN LINGERIE work the early-morning shift. You could catch herpes just by looking at them. Drew emerges and the ANCIENT MADAM approaches, cigarette dangling. Drew hands her a wad of cash. He's done this before.</scene_description>
    <character>MADAM</character>
    <parenthetical>(Lithuanian)</parenthetical>
    <dialogue>Which one?</dialogue>
    <scene_description>Drew points to a young, thin, SPOOKED GIRL. She nods. Drew takes the spooked girl's hand and she leads him upstairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BROTHEL - UPSTAIRS ROOM - MOMENTS LATER</stage_direction>
    <scene_description>Drew closes the door behind them. The girl starts to take off her clothes, speaks in Broken English.</scene_description>
    <character>DREW</character>
    <dialogue>No. Keep them on.</dialogue>
    <scene_description>Drew pulls the SPIKED COLLAR out of his jacket. The Girl is terrified. But Drew crosses to the WINDOW, opens it.</scene_description>
    <character>GIRL</character>
    <dialogue>What you into?</dialogue>
    <character>DREW</character>
    <parenthetical>(Lithuanian)</parenthetical>
    <dialogue>I'm into you never saw me.</dialogue>
    <scene_description>With that, Drew hands her more money than she's ever seen in her life ($25 USD). Then turns the COLLAR upside down and loops it over the POWER LINE out the window. He jumps out.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BROTHEL - CONTINUOUS</stage_direction>
    <scene_description>Drew ZIPLINES out of the brothel, over rooftops, and finally jumps off on a LANDING outside the open window of a --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RAMSHACKLE HOUSE - CONTINUOUS</stage_direction>
    <scene_description>TWO BORED TEENAGERS watch THE MINDY PROJECT dubbed in Lithuanian. They barely look up as Drew runs past them --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RAMSHACKLE HOUSE - KITCHEN</stage_direction>
    <scene_description>The MATRIARCH ladles BORSCHT from a pot. Seeing Drew, she SCREAMS and drops it, Pepto Bismol pink everywhere. SIRENS WAIL in the distance.</scene_description>
    <character>DREW</character>
    <parenthetical>(Lithuanian)</parenthetical>
    <dialogue>Keys.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VILNIUS ROAD - MINUTES LATER</stage_direction>
    <scene_description>Drew whizzes down a COBBLESTONE STREET on a MOPED. TWO COP CARS round the corner, in hot pursuit.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE - LOS ANGELES - NIGHT</stage_direction>
    <scene_description>Morgan sits at the bar, flirting with Eurotrash VIKTOR -- shaved head, Ukrainian football tracksuit.</scene_description>
    <character>MORGAN</character>
    <dialogue>Such a coincidence. I just auditioned to be a Ukrainian farm girl in a Geico spot. Wait, so is it "Ukraine" or "The Ukraine?"</dialogue>
    <character>VIKTOR</character>
    <dialogue>You say how you like. Always let beautiful woman decide.</dialogue>
    <scene_description>Morgan swoons... then notices Audrey, head pressed mournfully against the JUKEBOX. Draining her SCOTCH. She puts it on top of the juke next to TWO OTHER EMPTIES. Morgan grimaces.</scene_description>
    <character>MORGAN</character>
    <dialogue>Hey, Viktor? Hold that thought.</dialogue>
    <scene_description>Morgan crosses to Audrey.</scene_description>
    <character>AUDREY</character>
    <dialogue>Why did I have my birthday here? This is where I met Drew.</dialogue>
    <character>MORGAN</character>
    <dialogue>Enough. After tonight, I never want to hear the name "Drew" again. Even if you, like, "drew" me a picture, you say "I painted you something with pencils." You have to move on.</dialogue>
    <character>AUDREY</character>
    <dialogue>I know. It's just kinda hard to do that when he left that box of shit in our apartment that I have to see every day. He won't even text me back about picking it up.</dialogue>
    <character>MORGAN</character>
    <dialogue>Let me see your phone for a sec.</dialogue>
    <scene_description>Audrey hands her CELL over. Morgan finds the BREAKUP TEXT. "Hey there -- it's over. Sorry." Morgan then scrolls through a series of UNANSWERED REPLIES from Audrey: Why / What are you... / Call me / WTF? / How can you... Then she starts a NEW TEXT MESSAGE.</scene_description>
    <character>AUDREY</character>
    <dialogue>Who are you texting?</dialogue>
    <character>MORGAN</character>
    <dialogue>Drew. "Fuck you, you worthless pussy -- I'm setting your shit on fire."</dialogue>
    <character>AUDREY</character>
    <dialogue>Why are you saying that?</dialogue>
    <character>MORGAN</character>
    <dialogue>Because we're gonna go set his fucking shit on fire. I love setting things on fire.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VILNIUS SLUMS - DAY</stage_direction>
    <scene_description>Drew speeds through the decrepit, graffitied streets, on a mission. He parks behind a burnt out APARTMENT COMPLEX. He looks at his cell -- GRIMACES. Then rounds the corner and sees something worse -- Three GIANT THUGS waiting for him. Drew takes the long way around the building, stealthily pulling the WHIP and CHAINS from his jacket. He rounds the corner -- now behind the men -- and just STARTS SWINGING. In seconds, all three men are bloody messes. Two knocked out, the other moaning in pain. Drew steps over them.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AUDREY AND MORGAN'S FIRE ESCAPE - LOS ANGELES - NIGHT</stage_direction>
    <scene_description>Typical L.A. stucco fourplex. Audrey and Morgan stand drunkenly on the fire escape over a BANKERS BOX of Drew's stuff. Morgan holds a bottle of LIGHTER FLUID. Audrey gingerly picks up a pair of BOXER BRIEFS.</scene_description>
    <character>AUDREY</character>
    <dialogue>Really Drew? Skid marks on your underwear? Are you eight? Was I supposed to wash this for you? Is that why you dumped me? I didn't mother you enough?</dialogue>
    <character>MORGAN</character>
    <dialogue>Fuck you and wipe your own ass!</dialogue>
    <scene_description>Next, Audrey picks up a small PLASTIC TROPHY shaped like a VICTORIOUS FOOTBALL PLAYER. The plaque reads: SECOND PLACE.</scene_description>
    <character>AUDREY</character>
    <dialogue>Your Fantasy Football trophy for SECOND place? And you saved it?</dialogue>
    <character>MORGAN</character>
    <dialogue>It's not even real football. It's a fucking fantasy.</dialogue>
    <character>AUDREY</character>
    <dialogue>And I'm a real fucking person. So if you think you're gonna get some supermodel who also has nothing better to do with her time than blow you while you watch the game... uh, fuck you.</dialogue>
    <scene_description>Morgan pulls out a STRAIGHT TO DVD SPY ACTION MOVIE.</scene_description>
    <character>MORGAN</character>
    <dialogue>Um, speaking of fantasy, say goodbye to your straight-to-DVD shitty action movie starring Ryan Phillipe and Mischa Barton!</dialogue>
    <character>AUDREY</character>
    <dialogue>That you forced me to watch with you. I will never get those 82 minutes back. There's like one review on the cover. Three and a half stars from JeffreyLovesMovies.com?!</dialogue>
    <character>MORGAN</character>
    <dialogue>And you got it used at Chevron? Really Drew? You walked into a gas station and you're like, yes! One copy of "Marked Target" please. Here's $3.99.</dialogue>
    <scene_description>Morgan pours LIGHTER FLUID all over the box and its contents. She hands Audrey a matchbox.</scene_description>
    <character>MORGAN</character>
    <dialogue>You do the honors, birthday girl.</dialogue>
    <scene_description>Audrey takes the matches. We're CLOSE on the MATCH LIGHTING... and then... BUZZ. Her cell, in her pocket. Audrey shakes out the match and pulls out her phone...</scene_description>
    <character>AUDREY</character>
    <dialogue>It's... Drew.</dialogue>
    <character>DREW (V.O.)</character>
    <dialogue>Hey.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DREW'S SHITTY VILNIUS APARTMENT - INTERCUT</stage_direction>
    <scene_description>Not a place you'd want to spend the night in. Peeling walls, roaches, bare light bulb. Drew paces, earpiece in, checking the SURVEILLANCE SCREENS by his bed.</scene_description>
    <character>AUDREY</character>
    <dialogue>Really? That's it? "Hey?"</dialogue>
    <character>DREW</character>
    <dialogue>Audrey, I'm so sorry. I fucked up.</dialogue>
    <character>MORGAN</character>
    <dialogue>Tell him to go fuck himself.</dialogue>
    <character>DREW</character>
    <dialogue>I'll come by your place tomorrow. I can explain everything... and I'll get the stuff I left there.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(annoyed)</parenthetical>
    <dialogue>So that's why you called? Just to get your shit back? Awesome.</dialogue>
    <scene_description>She awaits a response. But Drew's busy PUNCHING THE DRYWALL by his night stand. In the hole: a SECRET STASH of MONEY, PASSPORTS and GUNS. Drew stuffs it in his POCKETS.</scene_description>
    <character>AUDREY</character>
    <dialogue>It's my birthday, by the way.</dialogue>
    <scene_description>Drew hears a GUN COCK. Someone's behind him. ON AUDREY: The line goes DEAD. ON DREW -- spinning around -- knocking the gun from his attacker, an OLDER THUG. They know each other. No weapons now. They punch and kick, equally matched.</scene_description>
    <character>OLDER THUG</character>
    <dialogue>Fight me all you want but you have more problems coming. You know what they want.</dialogue>
    <character>DREW</character>
    <dialogue>They're not getting it.</dialogue>
    <character>OLDER THUG</character>
    <dialogue>They'll get it when you're dead.</dialogue>
    <character>DREW</character>
    <dialogue>I can handle dead. Can you?</dialogue>
    <scene_description>Drew PINS the old thug to the floor with one hand. CRACKS HIS NECK with the other. Drew shakes off the body and moves to -- THE KITCHENETTE Drew pulls a bag of MICROWAVE POPCORN from an almost-bare cupboard. Then, from the hole in the wall, delicately -- A BRICK OF C-4 Drew affixes it to the bag of NEWMAN'S OWN (in Cyrillic), tosses it in the microwave, presses the POPCORN SETTING. The popcorn STARTS POPPING...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREETS OF VILNIUS - MOMENTS LATER</stage_direction>
    <scene_description>Drew walks away from his building as his apartment EXPLODES. In the flames, our title:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE - NIGHT (FLASHBACK)</stage_direction>
    <scene_description>A year ago. Audrey, happier, before her heartbreak. She's at the jukebox, flipping. She's lightly bumped on the back.</scene_description>
    <character>DREW (O.S.)</character>
    <dialogue>Sorry.</dialogue>
    <scene_description>Audrey turns, notices DREW behind her. Back then he was clean- shaven, like any guy you'd see in a Silver Lake bar.</scene_description>
    <character>AUDREY</character>
    <dialogue>That's okay.</dialogue>
    <scene_description>Audrey's wears a "HAPPY BIRTHDAY" PARTY STORE TIARA.</scene_description>
    <character>DREW</character>
    <dialogue>Oh. Hey. Happy birthday.</dialogue>
    <character>AUDREY</character>
    <dialogue>What?</dialogue>
    <parenthetical>(off tiara, deadpan)</parenthetical>
    <dialogue>Oh, this? It's not my birthday. I just wear this for warmth.</dialogue>
    <character>DREW</character>
    <dialogue>Well, if it was your birthday, I would say happy birthday.</dialogue>
    <character>AUDREY</character>
    <dialogue>And I would say thank you.</dialogue>
    <scene_description>A moment. They're clearly feeling a vibe.</scene_description>
    <character>AUDREY</character>
    <dialogue>Hey, can I get your help with something really really important?</dialogue>
    <character>DREW</character>
    <dialogue>I do consider myself a problem- solver.</dialogue>
    <character>AUDREY</character>
    <dialogue>I have one quarter left. Your mission, should you choose to accept it, is to find the absolute worst song on this jukebox.</dialogue>
    <scene_description>Drew smiles, joins her.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRADER JOE'S - DAY (PRESENT)</stage_direction>
    <scene_description>Audrey snaps out of the memory, hands a CUSTOMER a RECEIPT. She's at her shitty CASHIER JOB at Trader Joe's.</scene_description>
    <character>AUDREY</character>
    <dialogue>Thank you. Have a great day.</dialogue>
    <scene_description>Audrey notices her reflection in a MIRROR by the register. She looks hung over. Remembering Morgan's words, she pulls out the LIPSTICK and applies it. Almost immediately -- SEBASTIAN HENSHAW (30) -- shirt, tie, charming, British -- steps to her register. With NO GROCERIES. Audrey's confused.</scene_description>
    <character>AUDREY</character>
    <dialogue>Can I help you?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Yes... one gum please.</dialogue>
    <scene_description>He hastily grabs the nearest pack of GUM and hands her a dollar. As Audrey rings him up.</scene_description>
    <character>AUDREY</character>
    <dialogue>Have a nice day.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>...Sebastian. Aren't you going to ask me if I need help to my car?</dialogue>
    <scene_description>Audrey smiles. He's flirting with her. Well, look at that.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRADER JOE'S PARKING LOT - MOMENTS LATER</stage_direction>
    <scene_description>Audrey follows Sebastian to a far corner of the parking lot.</scene_description>
    <character>AUDREY</character>
    <dialogue>So, where are you from?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>England.</dialogue>
    <character>AUDREY</character>
    <dialogue>That's what I thought. But sometimes when I think that, people end up being Australian.</dialogue>
    <character>SEBASTIAN</character>
    <parenthetical>(amused)</parenthetical>
    <dialogue>People do sometimes end up being Australian.</dialogue>
    <character>AUDREY</character>
    <dialogue>Shut up.</dialogue>
    <parenthetical>(then, flustered)</parenthetical>
    <dialogue>Sorry, I didn't really mean shut up. It's a figure of speech. I dunno if you do that in England...</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Figures of speech? We invented that.</dialogue>
    <character>AUDREY</character>
    <dialogue>Some would say I'm not exercising good judgment, following a strange man through a parking lot. I mean, this is how people get shoved into the back of sketchy vans, right?</dialogue>
    <character>SEBASTIAN</character>
    <parenthetical>(dead serious)</parenthetical>
    <dialogue>Get in the van.</dialogue>
    <character>AUDREY</character>
    <dialogue>What?</dialogue>
    <scene_description>REVEAL Sebastian's stopping in front of a BLACK VAN with TINTED WINDOWS. The DOOR OPENS from the inside. Sebastian flashes a BADGE.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Federal agent.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VAN - DAY</stage_direction>
    <scene_description>The van moves. Sebastian faces Audrey. Next to him is TOPHER PATEL (30) -- a smarmy jerk. Audrey is beyond freaked out.</scene_description>
    <character>AUDREY</character>
    <dialogue>What's going on? Am I in trouble? I didn't do anything wrong.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>There's nothing to be afraid of, Ms. Stockman.</dialogue>
    <character>AUDREY</character>
    <dialogue>Says the guy who just kidnapped me. And knows my name. Oh my God what the fuck is happening... ?</dialogue>
    <character>PATEL</character>
    <dialogue>We just want to talk. About Drew Thayer. He's your boyfriend, right?</dialogue>
    <character>AUDREY</character>
    <parenthetical>(surprised)</parenthetical>
    <dialogue>No. I mean he was. But we broke up. Why? Is he in trouble or something?</dialogue>
    <character>PATEL</character>
    <dialogue>Yes. Drew is in a lot of trouble.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Do you know where your ex-boyfriend worked, Ms. Stockman?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah. NPR. He has this podcast about... um, honestly, I'm not positive. The episode I listened to was about little-known composers of the 18th Century... well, I listened to most of it.</dialogue>
    <character>PATEL</character>
    <dialogue>Nobody listened to that podcast. Not even me and I went to Harvard.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Wow. Only took you two minutes.</dialogue>
    <parenthetical>(flat)</parenthetical>
    <dialogue>Patel went to Harvard.</dialogue>
    <character>PATEL</character>
    <dialogue>That podcast was Drew's cover job.</dialogue>
    <character>AUDREY</character>
    <dialogue>He never said anything about having another job.</dialogue>
    <character>PATEL</character>
    <dialogue>That's what "cover" means, hon.</dialogue>
    <character>AUDREY</character>
    <dialogue>Okay I know. I'm not stupid. I'm just... processing. This is a lot. What was it a cover for?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Drew was a CIA agent.</dialogue>
    <character>AUDREY</character>
    <dialogue>Wait, what?!</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Then he stole things he shouldn't have and killed people he shouldn't have. Now he's on the run.</dialogue>
    <character>PATEL</character>
    <dialogue>And if we don't find him, a lot of innocent people are going to die. Do you want that to happen?</dialogue>
    <character>AUDREY</character>
    <dialogue>No! Jesus. No. Look, I'm with you that Drew's an asshole. I just can't believe he's... a killer.</dialogue>
    <scene_description>Sebastian pulls out a FOLDER of PHOTOS. Grainy surveillance pictures of Drew -- with guns, making a drop, stabbing a man in the neck. Audrey gets more anxious as she flips through.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh my God. OH MY GOD.</dialogue>
    <scene_description>She stops at a photo of HERSELF with DREW, in VEGAS.</scene_description>
    <character>AUDREY</character>
    <dialogue>You guys were in Vegas when we saw Celine Dion?</dialogue>
    <character>AUDREY</character>
    <parenthetical>(quickly)</parenthetical>
    <dialogue>Ironically.</dialogue>
    <scene_description>He hands her another photo. TWO DEAD BODIES by a CRAPS TABLE.</scene_description>
    <character>PATEL</character>
    <dialogue>Has Drew been in touch since you broke up?</dialogue>
    <scene_description>ON AUDREY - should she tell them?</scene_description>
    <character>AUDREY</character>
    <dialogue>No... well, yes. He called me last night. I mean, he called me back. Finally. I had called him like a thousand times.</dialogue>
    <parenthetical>(self-conscious)</parenthetical>
    <dialogue>After he disappeared. I called him a normal amount when we were together. I'm normal.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. AUDREY'S APARTMENT - DAY</stage_direction>
    <scene_description>An Ikea-filled two-bedroom. Audrey rushes in, still in her uniform (she'll continue to be until we say otherwise.)</scene_description>
    <character>AUDREY</character>
    <dialogue>Morgan! Morgan!</dialogue>
    <scene_description>Morgan emerges from the kitchen in her bra and underwear, mid- phone call. Peeling and eating string cheese.</scene_description>
    <character>MORGAN</character>
    <dialogue>...Yeah, Mom. Audrey just got home.</dialogue>
    <character>AUDREY</character>
    <dialogue>I have to talk to you.</dialogue>
    <character>MORGAN</character>
    <dialogue>Dude, I have to talk to you. I slept with Viktor.</dialogue>
    <character>AUDREY</character>
    <dialogue>Who?</dialogue>
    <character>MORGAN</character>
    <dialogue>From your birthday party.</dialogue>
    <scene_description>Behind her, Viktor emerges in nothing but RED LYCRA BRIEFS. He kisses Morgan intensely, then grabs a sleeve of CRACKERS.</scene_description>
    <character>VIKTOR</character>
    <dialogue>I will hit shower, yes?</dialogue>
    <scene_description>He heads into the bathroom. The shower runs.</scene_description>
    <character>MORGAN</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>What? Sorry, Mom, I'm kind of in a sex haze...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Hmm. I don't know, I'll ask her. Audrey, have you ever been with an uncircumcised guy?</dialogue>
    <character>AUDREY</character>
    <dialogue>Morgan!</dialogue>
    <character>MORGAN</character>
    <dialogue>Audrey thinks I tell you guys too much... I know! I think it's healthy too. But yeah, I know most European guys are uncircumcised. Like when I first saw it I was like, ew this looks like an unbaked crescent roll. But then it's like when it's in there, the whole thing expands and it feels like -- I know this doesn't sound like it would feel good -- but it's like your insides are covered in scotch tape. Wait, duh, you already know this, Mom. You did a year abroad.</dialogue>
    <character>AUDREY</character>
    <dialogue>MORGAN HANG UP THE FUCKING PHONE!</dialogue>
    <character>MORGAN</character>
    <dialogue>I'll call you back.</dialogue>
    <parenthetical>(hangs up)</parenthetical>
    <dialogue>Jesus. What?</dialogue>
    <character>AUDREY</character>
    <dialogue>These guys from the CIA came to Trader Joe's today. To talk about Drew. They said... he's a spy.</dialogue>
    <scene_description>Morgan cracks up, assuming she's kidding.</scene_description>
    <character>AUDREY</character>
    <dialogue>I'm serious. They showed me pictures of him with like, weapons and dead bodies. People he killed.</dialogue>
    <character>MORGAN</character>
    <dialogue>Wait. What?!</dialogue>
    <character>AUDREY</character>
    <dialogue>I know it sounds fucking batshit. But think about it. There were just so many unanswered questions with that guy...</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah there were. Like if he really went to Vassar, why does he pronounce it liberry?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Oh my fucking God!</dialogue>
    <character>AUDREY</character>
    <dialogue>Thank you! That is the appropriate reaction!</dialogue>
    <character>MORGAN</character>
    <dialogue>No. Behind you!</dialogue>
    <scene_description>Audrey turns. DREW is on the fire escape, wresting the window open. He smiles. Ugh. It's a charming fucking smile.</scene_description>
    <character>DREW</character>
    <dialogue>Hey.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(reeling)</parenthetical>
    <dialogue>Hi...</dialogue>
    <character>DREW</character>
    <dialogue>So you have my stuff?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah...</dialogue>
    <scene_description>Then Audrey snaps out of it, remembers how angry she's been.</scene_description>
    <character>AUDREY</character>
    <dialogue>Wait, that's all you have to say? What happened to you explaining everything?</dialogue>
    <character>DREW</character>
    <dialogue>I will, just right now I'm in a rush. Where's the stuff? Your room?</dialogue>
    <scene_description>He just heads for her room. Audrey follows, pissed off.</scene_description>
    <character>AUDREY</character>
    <dialogue>Stop. You can't just go in there.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. AUDREY'S BEDROOM - CONTINUOUS</stage_direction>
    <scene_description>Audrey walks in to find Drew grabbing THE BOX on the floor. She shuts the door behind him. They share a silent look.</scene_description>
    <character>AUDREY</character>
    <dialogue>Hey. Asshole. We're not together. There are like, rules.</dialogue>
    <character>DREW</character>
    <parenthetical>(re: the box)</parenthetical>
    <dialogue>This smells like lighter fluid.</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah. I wasn't kidding when I said I was gonna burn your shit.</dialogue>
    <scene_description>But Drew just keeps moving, back to...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AUDREY AND MORGAN'S LIVING ROOM - CONTINUOUS</stage_direction>
    <scene_description>Audrey follows Drew as he heads back to the window. This is all happening so fast. But it's her last chance to say it...</scene_description>
    <character>AUDREY</character>
    <dialogue>I know you're a spy.</dialogue>
    <scene_description>This finally stops Drew. His face drops. He turns around.</scene_description>
    <character>AUDREY</character>
    <dialogue>People from the CIA came to my work. They made me get in a van and showed me pictures of people you killed.</dialogue>
    <character>DREW</character>
    <dialogue>What did you tell them?</dialogue>
    <character>AUDREY</character>
    <dialogue>You're not gonna give me a bullshit excuse about how this is a joke your coworkers are playing on you? And those pictures were photoshopped?</dialogue>
    <character>DREW</character>
    <dialogue>Audrey...</dialogue>
    <character>AUDREY</character>
    <dialogue>It was fucking scary, Drew.</dialogue>
    <scene_description>Drew is PANICKED. Checks windows, behind doors, opens the closet. Then, he pulls a HANDGUN out of his jacket.</scene_description>
    <character>AUDREY</character>
    <dialogue>Jesus! Fuck.</dialogue>
    <character>DREW</character>
    <dialogue>Audrey. Listen to me. I need to know exactly what you told them.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(confused)</parenthetical>
    <dialogue>What's on your head?</dialogue>
    <character>DREW</character>
    <dialogue>What?</dialogue>
    <character>AUDREY</character>
    <dialogue>You have a red dot on your head.</dialogue>
    <scene_description>Sure enough, there's a LASER SIGHT right between Drew's eyes. GUNSHOTS -- BANG -- shattering windows. Drew springs to action, SHOVES AUDREY behind the COUCH -- pulls them both down and holds her close. It's weirdly intimate.</scene_description>
    <character>AUDREY</character>
    <dialogue>What the fuck is going on?</dialogue>
    <scene_description>Then she sees the BLOOD. Drew's been shot twice in the CHEST. But he's ALIVE. Audrey GASPS--</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MORGAN'S BEDROOM - SAME</stage_direction>
    <scene_description>Morgan is still on the phone again as she gets dressed.</scene_description>
    <character>MORGAN</character>
    <dialogue>What the fuck was that?!</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Dad, I have to call you back.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. AUDREY AND MORGAN'S LIVING ROOM - SAME</stage_direction>
    <scene_description>BEHIND THE SOFA. GUNFIRE doesn't let up. Drew speaks, urgent.</scene_description>
    <character>DREW</character>
    <dialogue>Audrey... bad people are after me--</dialogue>
    <character>AUDREY</character>
    <dialogue>The CIA guys?</dialogue>
    <character>DREW</character>
    <dialogue>There's more than just the CIA chasing me. And now they're after you too. Fuck. This is exactly what I didn't want -- you in danger. That's why I broke up with you.</dialogue>
    <scene_description>Before Audrey can respond, Drew reaches into the box and pulls out his FANTASY FOOTBALL TROPHY.</scene_description>
    <character>DREW</character>
    <dialogue>But we're in this together now. And a lot of innocent people are gonna die if we don't bring this where it needs to go. So listen. We're gonna leave this apartment, we're gonna fly to Vienna, and give this to someone named Verne at the Hotel Sacher Cafe at 6pm tomorrow...</dialogue>
    <character>AUDREY</character>
    <dialogue>Why are you telling me this if we're going together?</dialogue>
    <character>DREW</character>
    <dialogue>In case I don't make it out of here alive. Verne. 6pm. Hotel Sacher Cafe. Then you'll be safe. And so will everyone else. Got it?</dialogue>
    <character>AUDREY</character>
    <dialogue>Drew, you're not gonna die --</dialogue>
    <character>DREW</character>
    <dialogue>Listen. Don't trust anybody.</dialogue>
    <scene_description>The bathroom door opens and VIKTOR appears in the doorway. TOTALLY NAKED. CLOSE ON: HIS WEIRD UNCIRCUMCISED DICK.</scene_description>
    <character>AUDREY/DREW</character>
    <dialogue>Eughhhhhh!</dialogue>
    <scene_description>Viktor pulls out a GUN, SHOOTS Drew in the HEART point blank. Audrey's next... THEN. Morgan RUNS out of her room like a banshee. PLOWS into Viktor full force, shoving him into -- THE KITCHEN Before he can catch his balance, she pushes Viktor out the open window. He SCREAMS as he FALLS to his death. Audrey and Morgan are in total shock. Drew is dead! The shooting's stopped -- But only because they now hear a BATTALION OF FOOTSTEPS running up the stairs.</scene_description>
    <character>AUDREY</character>
    <dialogue>We have to get the fuck out of here!</dialogue>
    <character>MORGAN</character>
    <dialogue>Oh my God, Drew!</dialogue>
    <character>AUDREY</character>
    <dialogue>We have to go. Now!</dialogue>
    <scene_description>As they BOLT for the FIRE ESCAPE, Audrey yanks the FOOTBALL TROPHY out of Drew's dead hands. She spots a wad of FOREIGN BILLS in his jacket. Stuffs them in her pockets. Overwhelmed, Audrey gives Drew one last look. Is there something she could have done? But it's too late now. ANGLE on the DOOR as a SWARM of SPECIAL FORCES PERSONNEL burst in, led by SEBASTIAN and PATEL. But the girls are gone.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E. AUDREY'S HONDA CIVIC - DAY</stage_direction>
    <scene_description>Audrey, shaking, fighting tears, drives as fast as she can -- not terribly fast. A conservative driver. Morgan's shotgun.</scene_description>
    <character>MORGAN</character>
    <dialogue>Where are we going?!</dialogue>
    <character>AUDREY</character>
    <dialogue>I don't know. Give me a minute. Okay. Where would we be safe?</dialogue>
    <character>MORGAN</character>
    <dialogue>Pull into this parking lot. There's a bathroom in Pilates Plus.</dialogue>
    <character>AUDREY</character>
    <dialogue>We're not hiding in fucking Pilates Plus! Where's the police station? I think I voted there...</dialogue>
    <character>MORGAN</character>
    <dialogue>We can't go to the police. I just killed someone. And I have a ton of unpaid speeding tickets. And... Black Lives Matter.</dialogue>
    <character>AUDREY</character>
    <dialogue>You killed someone in self-defense. That doesn't count.</dialogue>
    <character>MORGAN</character>
    <dialogue>Just call those CIA agents.</dialogue>
    <character>AUDREY</character>
    <dialogue>Drew said we can't trust anyone. And he's right. He's dead. Probably because I talked to them.</dialogue>
    <character>MORGAN</character>
    <dialogue>Or because I brought an assassin into our apartment.</dialogue>
    <character>AUDREY</character>
    <dialogue>Okay so it's both our faults.</dialogue>
    <scene_description>Audrey slows as she approaches a STOP SIGN.</scene_description>
    <character>MORGAN</character>
    <dialogue>Go! Why are you stopping at stop signs? People are after us.</dialogue>
    <scene_description>Audrey nervously SPEEDS through the stop sign. Then her PHONE RINGS on the BLUETOOTH. BLOCKED NUMBER. She inhales, picks it up. It plays through the CAR SPEAKERS.</scene_description>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Audrey? It's Sebastian.</dialogue>
    <character>AUDREY</character>
    <dialogue>You killed Drew. I told you where he was gonna be and you killed him.</dialogue>
    <character>MORGAN</character>
    <dialogue>Who is this asshole?</dialogue>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Are you in the car?</dialogue>
    <parenthetical>(no response)</parenthetical>
    <dialogue>What did Drew say to you?</dialogue>
    <character>AUDREY</character>
    <dialogue>Why would I tell you anything after everything you've done?</dialogue>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Audrey. Where are you taking it?</dialogue>
    <scene_description>Audrey eyes the TROPHY, on the car's console.</scene_description>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Give us the package. Trust me.</dialogue>
    <character>AUDREY</character>
    <dialogue>I don't trust anyone anymore.</dialogue>
    <scene_description>Audrey HANGS UP. A moment.</scene_description>
    <character>MORGAN</character>
    <dialogue>You trust me though, right?</dialogue>
    <character>AUDREY</character>
    <dialogue>Of course. Not counting you.</dialogue>
    <character>MORGAN</character>
    <dialogue>Good. Cause this isn't like, a fake spy friendship that the Russians put together.</dialogue>
    <character>AUDREY</character>
    <dialogue>Dude, shut up. I know.</dialogue>
    <parenthetical>(grabbing the trophy)</parenthetical>
    <dialogue>Drew said a lot of people are gonna die if we don't deliver this.</dialogue>
    <character>MORGAN</character>
    <dialogue>What people?</dialogue>
    <character>AUDREY</character>
    <dialogue>He didn't get that far. But he was like, lying on the floor about to die when he said it. I know he lied about a lot of shit, but like...</dialogue>
    <character>AUDREY</character>
    <dialogue>if I don't do what he said and a bunch of people die, in a terrorist attack or whatever, I will always wonder if I could have stopped it.</dialogue>
    <scene_description>Morgan thinks about this.</scene_description>
    <character>MORGAN</character>
    <dialogue>That would fucking suck.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>What did he say we have to do?</dialogue>
    <character>AUDREY</character>
    <dialogue>Bring this to some cafe in Vienna.</dialogue>
    <character>MORGAN</character>
    <dialogue>Vienna? As in, Austria, Vienna?</dialogue>
    <character>AUDREY</character>
    <dialogue>That's what he said.</dialogue>
    <character>MORGAN</character>
    <dialogue>Then... why don't we do that?</dialogue>
    <character>AUDREY</character>
    <dialogue>Why don't we go to Europe when people are trying to kill us?</dialogue>
    <character>MORGAN</character>
    <dialogue>They're trying to kill us here too.</dialogue>
    <character>AUDREY</character>
    <dialogue>But we're just like, regular people. Yes, we happen to be in this extreme situation right now but we are not qualified to like... do some international spy mission.</dialogue>
    <character>MORGAN</character>
    <dialogue>It doesn't sound like a whole "mission." It's just doing this one thing. Versus staying here and getting killed. Plus, you've never been to Europe. Do you really want to die never having gone to Europe? Or do you want to go to Europe and die, having been to Europe?</dialogue>
    <character>AUDREY</character>
    <dialogue>Why are those my only two options?</dialogue>
    <character>MORGAN</character>
    <dialogue>I don't know, cause you dated a spy?</dialogue>
    <character>AUDREY</character>
    <dialogue>You fucked an assassin.</dialogue>
    <character>MORGAN</character>
    <dialogue>That I did.</dialogue>
    <scene_description>Morgan opens the GLOVE COMPARTMENT, pulls out PASSPORTS.</scene_description>
    <character>MORGAN</character>
    <dialogue>I'm just saying. Our passports are still in here from our road trip to Mexico. And I have my dad's credit card for emergencies...</dialogue>
    <character>AUDREY</character>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Are we going to Austria?</dialogue>
    <character>MORGAN</character>
    <dialogue>I think we're going to Austria.</dialogue>
    <scene_description>Audrey sharp-turns on to the FREEWAY ON-RAMP.</scene_description>
    <character>MORGAN</character>
    <dialogue>But we should ditch our phones. Bad guys can track us with our phones. Even if the phone is off.</dialogue>
    <character>AUDREY</character>
    <dialogue>How do you know that?</dialogue>
    <character>MORGAN</character>
    <dialogue>I went to summer camp with Edward Snowden.</dialogue>
    <parenthetical>(proudly)</parenthetical>
    <dialogue>First hand job. Oh my God that guy was obsessed with me.</dialogue>
    <scene_description>She grabs Audrey's phone and fishes hers from her bag.</scene_description>
    <character>MORGAN</character>
    <dialogue>And he was really into ska.</dialogue>
    <character>AUDREY</character>
    <dialogue>Weird.</dialogue>
    <character>MORGAN</character>
    <dialogue>Right? When that whole thing was going down, I was like - hello, why is no one talking about how Edward Snowden is really into ska?</dialogue>
    <scene_description>Morgan THROWS THEIR PHONES OUT THE WINDOW into the opposite lane. Watches in the rearview as CARS CRUSH THEM.</scene_description>
    <character>MORGAN</character>
    <dialogue>Do you think my Candy Crush progress will be saved?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah, in the cloud. You linked your account with Facebook, right?</dialogue>
    <character>MORGAN</character>
    <dialogue>No. I don't like getting all those notifications.</dialogue>
    <parenthetical>(mournful)</parenthetical>
    <dialogue>Fuck.</dialogue>
  </scene>
  <scene>
    <stage_direction>I/E. 405 FREEWAY/AUDREY'S HONDA CIVIC - DAY</stage_direction>
    <scene_description>Audrey starts to pull off at an EXIT.</scene_description>
    <character>MORGAN</character>
    <dialogue>Why are you getting off here?</dialogue>
    <character>AUDREY</character>
    <dialogue>To park.</dialogue>
    <character>MORGAN</character>
    <dialogue>Dude, people are trying to kill us. We are not fucking parking in Lot C.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. AIRPLANE - DAY</stage_direction>
    <scene_description>Mid-flight. Audrey and Morgan sit next to each other, eyeing all fellow passengers suspiciously. Wondering who might be a threat. A WELL-DRESSED BUSINESSMAN. A PROFESSORIAL TYPE in a bow-tie. Everyone in between. A FLIGHT ATTENDANT passes.</scene_description>
    <character>MORGAN</character>
    <dialogue>Could I get a Pinot Grigio please?</dialogue>
    <scene_description>The Flight Attendant nods and leaves.</scene_description>
    <character>AUDREY</character>
    <dialogue>You can't drink right now!</dialogue>
    <character>MORGAN</character>
    <dialogue>I have to. This is so fucking stressful. Like, any of these people could be trying to kill us.</dialogue>
    <scene_description>She makes eye contact with a LITTLE GIRL across the aisle. The little girl stares back stoically. Morgan's freaked out.</scene_description>
    <character>AUDREY</character>
    <dialogue>Morgan. We need all our faculties.</dialogue>
    <character>MORGAN</character>
    <parenthetical>(re: her screen)</parenthetical>
    <dialogue>That guy just drank like three martinis.</dialogue>
    <scene_description>Reveal she's watching a BOND MOVIE. Audrey's watching BOURNE.</scene_description>
    <character>AUDREY</character>
    <dialogue>He's been doing this a really long time. This is our first time.</dialogue>
    <character>MORGAN</character>
    <dialogue>Do you think Drew was a James Bond kind of spy?</dialogue>
    <character>AUDREY</character>
    <dialogue>I don't know. I don't think James Bond would like, need to try every breakfast burrito in Los Angeles.</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah. Seems more like a Bourne thing.</dialogue>
    <character>AUDREY</character>
    <dialogue>Are your parents gonna be pissed that we used their credit card?</dialogue>
    <character>MORGAN</character>
    <dialogue>Not if I tell them why. That's our family policy. As long as I tell the truth, they can't get mad.</dialogue>
    <character>AUDREY</character>
    <dialogue>Morgan. You can't tell them the truth about this.</dialogue>
    <character>MORGAN</character>
    <parenthetical>(deeply conflicted)</parenthetical>
    <dialogue>What if I tell them we went to Europe to go to museums?</dialogue>
    <character>AUDREY</character>
    <dialogue>You just said you weren't supposed to lie!</dialogue>
    <character>MORGAN</character>
    <dialogue>It won't be a lie if we go to a museum.</dialogue>
    <parenthetical>(off Audrey's look)</parenthetical>
    <dialogue>As long as we're there! We drop off the trophy at this cafe, that's like an hour, tops. And then one museum.</dialogue>
    <character>AUDREY</character>
    <dialogue>We'll play it by ear.</dialogue>
    <scene_description>The wine arrives. Morgan gulps it down. Audrey shakes her head and puts on her headphones, focusing on her movie. ANGLE ON: BOURNE in a kickass action sequence... and we...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE - AUDREY AND DREW - FLASHBACK</stage_direction>
    <scene_description>Audrey and Drew stand close at the jukebox, scrolling.</scene_description>
    <character>DREW</character>
    <dialogue>Oh God. That Sarah McLachlan song. This is the one in the commercial where the dogs are sad, right?</dialogue>
    <character>AUDREY</character>
    <dialogue>I think the sad dogs redeem the song. Ugh, what about Mambo No. 5?</dialogue>
    <character>DREW</character>
    <dialogue>Please. That's nothing compared to Mambos one through four.</dialogue>
    <scene_description>Audrey laughs. They're enjoying each other.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh. Oh my God I have it. Close your eyes. Don't look.</dialogue>
    <scene_description>Drew closes his eyes. Audrey gleefully puts the quarter in. THE CRASH TEST DUMMIES "MMM MMM MMM MMM" plays. Drew opens his eyes. Without missing a beat, starts singing along in the lead singer's super-deep bass.</scene_description>
    <character>DREW</character>
    <dialogue>"Oooooonce there was this kiiiid who / got into an accident and couldn't come to school / But wheeen he finally caaaame back... "</dialogue>
    <scene_description>Audrey laughs, totally smitten.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E. CAB - DAY</stage_direction>
    <scene_description>The gorgeous sights of Vienna flash by as the girls sit in a CAB heading across town. The driver is a middle-aged elegant AUSTRIAN WOMAN. Morgan and Audrey whisper.</scene_description>
    <character>VIENNA, AUSTRIA</character>
    <dialogue>MORGAN</dialogue>
    <scene_description>She hasn't smiled once. Do you think she's an assassin?</scene_description>
    <character>AUDREY</character>
    <dialogue>No. We just randomly picked this cab. And she's like, delicate.</dialogue>
    <character>MORGAN</character>
    <dialogue>Dude. Sexist! Women of all shapes and sizes can be anything they want to be. They can be assassins...</dialogue>
    <parenthetical>(points to themselves)</parenthetical>
    <dialogue>They can be operatives.</dialogue>
    <character>AUDREY</character>
    <dialogue>I wouldn't say we're "operatives." This is just one operation.</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah. But you and me? We're always operating.</dialogue>
    <scene_description>Morgan notices something out the window. She GASPS in shock.</scene_description>
    <character>MORGAN</character>
    <dialogue>Oh my GOD.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(scared)</parenthetical>
    <dialogue>What? What?!?!</dialogue>
    <character>MORGAN</character>
    <dialogue>That building is fucking beautiful.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL SACHER CAFE - DAY</stage_direction>
    <scene_description>An ornate European restaurant packed with high-end tourists and locals. Audrey and Morgan sit tensely in a corner table, subtly checking everyone out as they eat SACHERTORTES.</scene_description>
    <character>AUDREY</character>
    <dialogue>Okay. Who do we think Verne is?</dialogue>
    <character>MORGAN</character>
    <dialogue>I don't know. It's kind of a frumpy name.</dialogue>
    <character>AUDREY</character>
    <dialogue>You think? We might just be pronouncing it frumpy. Like, Jules Verne wasn't frumpy.</dialogue>
    <character>MORGAN</character>
    <dialogue>I beg to differ. And wait, won't this guy be looking for Drew?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yes. Shit. He will.</dialogue>
    <scene_description>A beat as they scan... then Morgan suddenly TENSES UP.</scene_description>
    <character>AUDREY</character>
    <dialogue>What? What do you see?</dialogue>
    <character>MORGAN</character>
    <dialogue>Nothing...</dialogue>
    <parenthetical>(sighs)</parenthetical>
    <dialogue>Okay, I know being here right now is really important but this cake is a lot of flour and dairy for me and... I need to go have diarrhea.</dialogue>
    <character>MORGAN</character>
    <dialogue>It's just a biological fact. No matter who you are, no matter how high the stakes in a given moment, sometimes you have to-</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh my God just go.</dialogue>
    <character>MORGAN</character>
    <dialogue>Thank you. I'll be right back.</dialogue>
    <scene_description>Morgan rushes toward the bathroom. We stay with Audrey as a BUTCH WAITRESS approaches.</scene_description>
    <character>WAITRESS</character>
    <dialogue>Anything else?</dialogue>
    <character>SEBASTIAN (O.S.)</character>
    <dialogue>Zwei Kaffee, bitte.</dialogue>
    <scene_description>Before Audrey knows what's happening, SEBASTIAN emerges from behind her, takes Morgan's seat. Audrey's about to SCREAM --</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Don't scream. I'm the person you're here to see.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(confused)</parenthetical>
    <dialogue>You're Verne?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>It's an alias.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Hand it over.</dialogue>
    <scene_description>Audrey hedges.</scene_description>
    <character>AUDREY</character>
    <dialogue>If Drew wanted me to give this to you, why wouldn't he have done it himself?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>It's a long story.</dialogue>
    <character>AUDREY</character>
    <dialogue>I'm not in a rush.</dialogue>
    <scene_description>Then something touches her leg under the table. A GUN.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh my God!</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Don't make any noise. Just hand it over. I'm not gonna hurt you. I'm trying to protect you.</dialogue>
    <character>AUDREY</character>
    <dialogue>Like you protected Drew?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>That wasn't us. We didn't do that.</dialogue>
    <character>AUDREY</character>
    <dialogue>If you were really protecting me, you wouldn't be pointing a gun at me. I may not be in the fucking CIA but I know that.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I'm MI-6, actually.</dialogue>
    <character>AUDREY</character>
    <dialogue>Whatever.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL SACHER CAFE, BATHROOM - DAY</stage_direction>
    <scene_description>Morgan washes her hands next to their WAITRESS. She smiles politely. Then Morgan double-takes. The waitress's NAME TAG -- VERNE.</scene_description>
    <character>MORGAN</character>
    <dialogue>You're Verne?</dialogue>
    <character>VERNE</character>
    <dialogue>Guttentag!</dialogue>
    <scene_description>Morgan rushes out of the bathroom, back to --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOTEL SACHER CAFE - MOMENTS LATER</stage_direction>
    <scene_description>Morgan FREEZES, seeing Sebastian at the table with Audrey. She waves -- tries to get Audrey's attention. Audrey sees her but doesn't react. The gun's still trained on her. AT THEIR TABLE -- Sebastian continues to explain.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>I'm only pointing this at you so you sit still and listen. In a minute, everyone in this cafe is going to start shooting. If you run, you'll be killed. And even if you manage to get out alive, you won't be able to go anywhere.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>If you scan your passport at a border, there'll be men with guns a lot bigger than this one who won't say a word before they shoot you in the face. So hand me what I want and no one gets hurt.</dialogue>
    <character>AUDREY</character>
    <dialogue>Except for Drew.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Okay, it's not productive to keep bringing that up.</dialogue>
    <scene_description>Audrey has no choice. She reaches into her POCKET and grabs the TROPHY. She starts to hand it over, when -- Morgan -- seeing this -- SCREAMS.</scene_description>
    <character>MORGAN</character>
    <dialogue>THAT'S. NOT. VERNE!</dialogue>
    <scene_description>CHAOS ERUPTS! Almost everyone in the cafe has a gun, and most of them start SHOOTING. Sebastian whips around, SHOOTS BACK. A DEAD ASSASSIN plummets into an elaborate ROAST CHICKEN. A DEAD VERNE FALLS ON TOP OF AUDREY, GUN in her dead hand. Morgan drops to the ground, hides under a TABLE... thinking fast, Audrey GRABS Verne's GUN. Crouching, scans for Morgan -- just as -- an ARYAN-LOOKING MAN with a RIFLE stalks Morgan, prepares to end her short, wonderful life... Audrey acts on instinct, aims with precision -- just like Duck Hunt -- and BLOWS THE GUY'S BRAINS OUT. Saving her. Morgan looks up, shocked, grateful. AUDREY's surprised too. She stares at the gun in her hands -- SHE'S GOOD AT THIS. Then a GUTTURAL SCREAM from behind them-- Sebastian throws SCALDING HOT COFFEE on an attacker, stabs a FORK in his neck. While he's distracted, Audrey and Morgan fucking run for it.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. VIENNA STREET - MOMENTS LATER</stage_direction>
    <scene_description>Audrey and Morgan sprint down the alley, panicking...</scene_description>
    <character>AUDREY</character>
    <dialogue>I just killed someone... oh my god Morgan, I just killed someone...</dialogue>
    <character>MORGAN</character>
    <dialogue>Don't think about it! Keep running!</dialogue>
    <character>AUDREY</character>
    <dialogue>I killed someone!</dialogue>
    <character>MORGAN</character>
    <dialogue>Stop yelling that!</dialogue>
    <scene_description>Up ahead, an OLDER RICH COUPLE -- dressed for a night at the OPERA -- are climbing into their VINTAGE M.G. when -- AUDREY and MORGAN run up behind them like crazy people. Audrey SNATCHES THE MAN'S KEYS right out of his hand.</scene_description>
    <character>MAN</character>
    <dialogue>Was machst Du da für Scheiße!</dialogue>
    <scene_description>Audrey pushes into the car. Morgan gets in the passenger side.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STOLEN M.G. - SAME</stage_direction>
    <scene_description>They lock the doors. Audrey hastily turns the car on. The Man and Woman scream -- YELL for POLICE -- banging on the windows. Audrey looks down -- A GEAR SHIFT.</scene_description>
    <character>AUDREY</character>
    <dialogue>Shit. Can you drive a stick?</dialogue>
    <character>MORGAN</character>
    <dialogue>No! What?! Do I look like a fifty- five year old man?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VIENNA ALLEY - SAME</stage_direction>
    <scene_description>The M.G. rolls VERY SLOWLY down the street in NEUTRAL. The OLDER COUPLE easily keeps up on foot, banging on the windows. The car SLOWLY rolls into a NEWSSTAND, barely nudging it... But PAPERS fall, on to the windshield. Blocking their view.</scene_description>
    <character>MORGAN</character>
    <dialogue>Fuck.</dialogue>
    <character>AUDREY</character>
    <dialogue>Come on.</dialogue>
    <scene_description>The girls jump out, apologizing profusely as they run.</scene_description>
    <character>AUDREY/MORGAN</character>
    <dialogue>Sorry/ so sorry!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ANOTHER VIENNA STREET - MOMENTS LATER</stage_direction>
    <scene_description>The girls dash around a corner --</scene_description>
    <character>AUDREY</character>
    <dialogue>Get in there!</dialogue>
    <scene_description>She gestures to an UBER decal on a WAITING CAR. They jump in.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E. UBER - DAY</stage_direction>
    <scene_description>Driving. LUKAS, pierced and bohemian, at the wheel.</scene_description>
    <character>AUDREY</character>
    <dialogue>Go go go go go! Go! Go!</dialogue>
    <scene_description>Lukas stares at HIS PHONE: A picture of an ASIAN MAN.</scene_description>
    <character>LUKAS</character>
    <dialogue>Mr. Nguyen?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yes. Mr. Nguyen. Just go!</dialogue>
    <scene_description>Audrey throws a bunch of BILLS at him. Lukas shrugs and drives. Typical Uber chatter ensues.</scene_description>
    <character>LUKAS</character>
    <dialogue>So you guys visiting?</dialogue>
    <scene_description>The girls' eyes dart everywhere -- frantic -- not listening --</scene_description>
    <character>MORGAN</character>
    <parenthetical>(panicking)</parenthetical>
    <dialogue>Can we go another way? There's a lot of traffic here --</dialogue>
    <character>LUKAS</character>
    <dialogue>Bottled water? Still? Sparkling?</dialogue>
    <character>AUDREY</character>
    <dialogue>No! Just drive --</dialogue>
    <character>LUKAS</character>
    <dialogue>You have enough air back there?</dialogue>
    <scene_description>A GUY ON A MOTORCYCLE PULLS ALONGSIDE THEM -- full-head helmet obscuring his face. He LIFTS a MACHINE GUN. Ready to fire... Audrey and Morgan SCREAM. Audrey reaches over and kicks her own LEG down on top of Lukas's -- SPEEDING THE CAR UP.</scene_description>
    <character>AUDREY</character>
    <dialogue>Here's the deal, okay? Some guys with guns are trying to kill us right now. Can you just, lose them?</dialogue>
    <character>LUKAS</character>
    <parenthetical>(lighting up)</parenthetical>
    <dialogue>Fuck yeah!</dialogue>
    <scene_description>Lukas starts driving like a MANIAC. EFFECTIVELY. He makes a SHARP TURN, losing the assassin. The girls exhale. Until:</scene_description>
    <character>LUKAS</character>
    <dialogue>Good thing I smoked a little meth before. Fear is an illusion!</dialogue>
    <scene_description>He turns down a ONE-WAY STREET. The wrong way. CARS HONK, pull to the side. Lukas swerves in and out... on to nearby TRAIN TRACKS. He drives down the tracks at top speed... bumping wildly... heads into a NARROW TUNNEL. In the dark, the lights of an ONCOMING TRAIN appear...</scene_description>
    <character>AUDREY</character>
    <dialogue>Lukas!</dialogue>
    <character>LUKAS</character>
    <dialogue>I see it. No problem.</dialogue>
    <scene_description>Lukas SPEEDS UP. The girls SCREAM at the top of their lungs... The Uber pulls out of the tunnel and off to the side JUST IN THE NICK OF TIME -- The TRAIN rushes by.</scene_description>
    <character>LUKAS</character>
    <dialogue>Up here!</dialogue>
    <scene_description>Lukas lifts a hand to HIGH-FIVE. Before they can return it-- BLAM! -- BLAM!! THE BACK WINDOW shatters! THE GIRLS -- duck! LUKAS -- is sprayed with bullets. He DIES TEN TIMES OVER. MORGAN lifts her head cautiously over the back seat... FIVE MORE MOTORCYCLE GUYS are racing through the tunnel, armed --</scene_description>
    <character>MORGAN</character>
    <dialogue>Audrey, get on top of him!</dialogue>
    <scene_description>Audrey jumps on the LAP of Lukas's DECIMATED CORPSE. She DRIVES, cautious at first... then gets an ADRENALINE RUSH. Drives FASTER AND FASTER. When she gets to a CROSSING, she TURNS off the tracks, into TRAFFIC -- Weaving between cars. Audrey is a quick fucking study. She makes a SHARP TURN. Loses her pursuers. For now.</scene_description>
    <character>MORGAN</character>
    <dialogue>Hey! Pull over! Stop the car!</dialogue>
    <scene_description>A BAROQUE SIGN AHEAD -- STEPHANSPLATZ. METRO STATION. Audrey pulls up to the curb. Morgan jumps out. Audrey climbs off Lukas' dead body. Glances back at him one more time...</scene_description>
    <character>AUDREY</character>
    <dialogue>(ruefully)</dialogue>
    <character>MORGAN</character>
    <dialogue>Five stars.</dialogue>
    <scene_description>Five stars, Lukas. They sprint toward the Metro. SIRENS in the distance.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VIENNA SUBWAY STATION - DAY</stage_direction>
    <scene_description>AUDREY and MORGAN run down the ESCALATOR, to the TURNSTILES.</scene_description>
    <character>MORGAN</character>
    <dialogue>Jump the turnstile!</dialogue>
    <scene_description>Audrey stops. There's a COP patrolling nearby.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VIENNA METRO STATION - MOMENTS LATER</stage_direction>
    <scene_description>POUNDING MUSIC FROM THEIR CHASE continues as the girls try to work the confusing METRO PASS DISPENSER.</scene_description>
    <character>MORGAN</character>
    <dialogue>Gah!</dialogue>
    <character>AUDREY</character>
    <dialogue>Fucking take my Euro!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VIENNA METRO STATION - MOMENTS LATER</stage_direction>
    <scene_description>Music continues as they keep swiping their cards to no avail... they keep getting an ERROR MESSAGE: FEHLER! FEHLER! Finally, they get through. Slip into a METRO CAR.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. VIENNA METRO - SAME</stage_direction>
    <scene_description>Audrey and Morgan collapse on to seats, breathless. Finally. The train moves. They look up -- A VERY PREGNANT WOMAN and an ELDERLY MAN. Audrey and Morgan exchange a look and give up their seats. Hold the bars as they continue panting.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION - NIGHT</stage_direction>
    <scene_description>An industrial underground complex with SCREENS everywhere.</scene_description>
    <character>CIA STATION -- PARIS, FRANCE</character>
    <dialogue>SEBASTIAN -- still in his bloody shirt -- enters the SITUATION ROOM. Patel sees him, breaks from a conversation with WENDY (50s), their permanently-disgruntled BOSS.</dialogue>
    <character>PATEL</character>
    <dialogue>Great job, Henshaw!</dialogue>
    <parenthetical>(deadpan)</parenthetical>
    <dialogue>Your mission was to have everyone in that cafe die and the girls get away, right?</dialogue>
    <scene_description>Sebastian ignores PATEL, turns to Wendy.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Extenuating circumstances.</dialogue>
    <character>WENDY</character>
    <dialogue>They had the package and you didn't get it. Explain that circumstance.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I was trying to protect them.</dialogue>
    <character>PATEL</character>
    <dialogue>Why? Let them die. They're idiots. I know an idiot when I see one.</dialogue>
    <character>SEBASTIAN</character>
    <parenthetical>(sotto)</parenthetical>
    <dialogue>In the mirror.</dialogue>
    <character>PATEL</character>
    <dialogue>I'm not an idiot, Sebastian. I was--</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Harvard. Yes. We know.</dialogue>
    <character>WENDY</character>
    <parenthetical>(stern)</parenthetical>
    <dialogue>Boys. If I wanted to sit here with two children, I'd spend time with my own children. And I don't want to spend time with my own children. Now what do we know about these idiots?</dialogue>
    <scene_description>PATEL leans over and types a few keys. ON THE SCREENS -- DMV PHOTOS of AUDREY and MORGAN.</scene_description>
    <character>PATEL</character>
    <dialogue>Audrey Stockman. 27. Works at Trader Joe's.</dialogue>
    <parenthetical>(to Sebastian)</parenthetical>
    <dialogue>You're right. Can't let anything happen to her. Who else would serve the samples of Vegan Gyoza?</dialogue>
    <parenthetical>(to Wendy)</parenthetical>
    <dialogue>She's worked there since she graduated from Oberlin with a B minus average. Which is where she met this genius...</dialogue>
    <scene_description>MORGAN's PICTURE.</scene_description>
    <character>PATEL</character>
    <dialogue>Or shall I say "This Musical Theater major who designed her own minor."</dialogue>
    <character>WENDY</character>
    <dialogue>In what?</dialogue>
    <character>PATEL</character>
    <dialogue>She literally minored in "Personality."</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>What's your point, Patel? You're okay letting two innocent women die?</dialogue>
    <character>PATEL</character>
    <dialogue>I think society is okay letting these two die. They're losers. And we'll catch them the minute they try to cross the border.</dialogue>
    <character>PATEL</character>
    <dialogue>These girls are the stupidest people America hasn't managed to kill yet.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. WIEN HAUPTBAHNHOF TRAIN STATION - NIGHT</stage_direction>
    <scene_description>An uber-modern mall-like International hub.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. THE TICKET WINDOW</stage_direction>
    <scene_description>AUDREY grabs two tickets and hurries through the CROWD, keeping her head down, lying low... she arrives</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OUTSIDE THE GIFT SHOP</stage_direction>
    <scene_description>Just as MORGAN emerges with a BAG. The girls walk quickly.</scene_description>
    <character>AUDREY</character>
    <dialogue>Keep moving. There are cameras everywhere.</dialogue>
    <character>MORGAN</character>
    <dialogue>I got us changes of clothes.</dialogue>
    <scene_description>Morgan pulls out two BASEBALL HATS with MOZART'S FACE.</scene_description>
    <character>MORGAN</character>
    <dialogue>They really play up that Mozart's from here. Really downplay that Hitler's from here.</dialogue>
    <scene_description>The girls put on the hats and head for the tracks.</scene_description>
    <character>AUDREY</character>
    <dialogue>What else did you get?</dialogue>
    <character>MORGAN</character>
    <dialogue>Everything that said Wiener on it.</dialogue>
    <scene_description>She shows Audrey a jar of VIENNA SAUSAGES and a cake labeled TORTE WIENER ART. Then Audrey suddenly STOPS.</scene_description>
    <character>AUDREY</character>
    <dialogue>Wait. Fuck. Our passports. Sebastian said we'll get stopped if we try to use them.</dialogue>
    <character>MORGAN</character>
    <dialogue>Okay. So we just have to get new ones. Let's find a couple of girls who look like us, tell them what happened and convince them to give us theirs. They can just go to the embassy and say theirs were stolen.</dialogue>
    <character>AUDREY</character>
    <dialogue>Who would do that for us?</dialogue>
    <character>MORGAN</character>
    <dialogue>Any girls! It's girl code. Eat Pray Love.</dialogue>
    <character>AUDREY</character>
    <dialogue>They look kinda like us.</dialogue>
    <scene_description>She points to two KIND OF NERDY GIRLS who look like them.</scene_description>
    <character>MORGAN</character>
    <dialogue>Babe, what are you talking about? Those girls look nothing like us. Those girls look like us.</dialogue>
    <scene_description>Morgan points to two TALL BACKPACKERS WHO LOOK LIKE MODELS.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN STATION BENCH - MOMENTS LATER</stage_direction>
    <scene_description>By the TRACKS -- Audrey and Morgan are nearly in TEARS as they explain their predicament to the AUSTRALIAN BACKPACKERS.</scene_description>
    <character>AUDREY</character>
    <dialogue>... Just think about the only guy you've ever really loved dying in front of you. And asking you to do this one thing for him. Wouldn't you sacrifice anything?</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah, I mean this was my favorite shirt. It's H&M but now it's also B&B. Blood and Brains.</dialogue>
    <character>AUSSIE TOURIST 1</character>
    <dialogue>You guys are weird.</dialogue>
    <character>MORGAN</character>
    <dialogue>We're not...</dialogue>
    <parenthetical>(mocking Australian accent)</parenthetical>
    <dialogue>weeeeeid. We're serious. You'd be saving our lives. And a lot of other innocent people. You don't want those people to die, right?</dialogue>
    <character>AUDREY</character>
    <dialogue>Please guys. Just go to the embassy and get new passports. We'll give you some money for your time --</dialogue>
    <character>AUSSIE TOURIST 2</character>
    <dialogue>Sorry. We'd love to help you out, mate, but we don't know you and...</dialogue>
    <character>MORGAN</character>
    <dialogue>No, I get it. I get it.</dialogue>
    <scene_description>The TRAIN pulls in behind them. Morgan and Audrey exchange a look. They both know what they have to do.</scene_description>
    <character>MORGAN</character>
    <dialogue>Thanks anyway. It was beautiful meeting you two.</dialogue>
    <character>AUDREY</character>
    <dialogue>Have a great time in Poland.</dialogue>
    <scene_description>They pull the two Backpackers in for a HUG...</scene_description>
    <character>MORGAN</character>
    <parenthetical>(yelling)</parenthetical>
    <dialogue>Now!</dialogue>
    <scene_description>AUDREY and MORGAN GRAB the girls' FANNY PACKS and dash for the WAITING TRAIN. Before the Aussies know what's happening, the train has left the station. Along with their passports. PRE-LAP thumping ETHEREAL HOUSE MUSIC...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILAN PALAZZO - NIGHT</stage_direction>
    <scene_description>Dizzying strobe lights -- thumping bass -- an AVANT GARDE runway show in a drafty PALACE BALLROOM. Androgynous men and women move stiffly down the catwalk in clothes that look like armor. Vacant faces STREAKED with black and metallic paint.</scene_description>
    <character>MILAN, ITALY</character>
    <dialogue>We track one MODEL -- 6'3, deathly pale, beauty that only exists in unpronounceable countries. NADEJDA (pronounced "Nadia" but everything, including spelling, is harder where she's from.) She completes her walk and heads back to --</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MILAN PALAZZO BACKSTAGE - CONTINUOUS</stage_direction>
    <scene_description>The bullpen. Nadedja ignores the chatter of models and interns as she goes to a CUBBY, removes an expensive leather bag. Pulls out her BUZZING PHONE. In a heavy SLAVIC accent:</scene_description>
    <character>NADEDJA</character>
    <dialogue>Hello... Yes... I understand.</dialogue>
    <scene_description>She crosses behind a CURTAIN, pulls it shut.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DRESSING AREA - CONTINUOUS</stage_direction>
    <scene_description>Nadedja strips NAKED, revealing a bony, hairless body. She pulls out the components of -- A GUN. Assembles it expertly. From outside the curtains --</scene_description>
    <character>MALE INTERN (O.S.)</character>
    <dialogue>Nadedja? You're not changing, are you? Carlo wants everyone out there.</dialogue>
    <scene_description>Nadedja continues, unperturbed by the request. Moves on to a HANDGUN -- screws in a SILENCER. The curtain is YANKED OPEN, revealing the CHUBBY MALE INTERN.</scene_description>
    <character>MALE INTERN</character>
    <dialogue>Carlos said now -- HOLY SHIT.</dialogue>
    <scene_description>His eyes widen, taking in the nudity -- luckier than he's ever been in his life. And ever will be. Because he's about to die. He should not have seen those guns. Nadedja moves like lightning -- AIMS, FIRES. Intern FALLS. She pulls a shapeless FROCK from a nearby rack, checks her reflection in a mirror. Uses a MAKEUP SPONGE to wipe the Intern's blood off her face, steps over him in her stilettos.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STREETS OF MILAN - DAY</stage_direction>
    <scene_description>Nadedja climbs into a MERCEDES SLR MACLAREN -- mirrored exterior, as otherworldly as she is. This is like, a 650K€ car (given the current European economy, you could negotiate down to six, but Nadedja doesn't negotiate.) She speeds away.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E. TRAIN - DAY</stage_direction>
    <scene_description>Gorgeous countryside. Audrey and Morgan -- now in different clothes -- sit in a TRAIN COMPARTMENT. Morgan holds the TROPHY, Audrey removes a PHONE from one of the FANNY PACKS.</scene_description>
    <character>MORGAN</character>
    <dialogue>We should get you a gun. Cause dude. Back there? In that cafe? You're like, deadly.</dialogue>
    <character>AUDREY</character>
    <dialogue>I play a lot of Duck Hunt.</dialogue>
    <character>MORGAN</character>
    <parenthetical>(re: trophy)</parenthetical>
    <dialogue>God, what is the fucking deal with this thing?</dialogue>
    <character>AUDREY</character>
    <dialogue>I don't know. That's what we have to figure out.</dialogue>
    <character>MORGAN</character>
    <dialogue>Or maybe... we don't. I mean, Drew asked you to hand it to this one person. We tried.</dialogue>
    <character>MORGAN</character>
    <dialogue>People shot at us. And each other. Clearly this isn't as easy as we thought. Maybe we should just like... throw it out the window. Then it's just... not on us.</dialogue>
    <scene_description>Audrey thinks about it. Tempting, but she just can't.</scene_description>
    <character>AUDREY</character>
    <dialogue>No. If it's really that important and we just ditch it and something really bad happens... I don't want that blood on my hands. In addition to the literal blood that's already all over my hands.</dialogue>
    <character>MORGAN</character>
    <dialogue>That train station hand soap is for shit.</dialogue>
    <character>AUDREY</character>
    <dialogue>We just have to get out of this country of murderers. We'll be in Prague in a few hours.</dialogue>
    <character>MORGAN</character>
    <dialogue>Prague does not sound free of murderers.</dialogue>
    <scene_description>But Audrey's distracted, clicking around on one of the Aussie's CELL PHONES with a bejeweled pot leaf case.</scene_description>
    <character>MORGAN</character>
    <dialogue>What are you looking at?</dialogue>
    <character>AUDREY</character>
    <dialogue>Facebook. Photos of me and Drew. He's looking away in every picture. How did I never notice that before?</dialogue>
    <character>MORGAN</character>
    <dialogue>When you're in love you don't see shit you don't want to see. Are those his parents?</dialogue>
    <scene_description>ANGLE on a photo of Audrey and Drew -- head turned -- with a MIDDLE AGED MIDWESTERN-LOOKING couple. TOM and MARSHA.</scene_description>
    <character>AUDREY</character>
    <dialogue>Yeah. I met them the night before he disappeared. We all went to the Cheesecake Factory.</dialogue>
    <character>MORGAN</character>
    <dialogue>God, that menu. Too many options.</dialogue>
    <character>AUDREY</character>
    <dialogue>I know. We ended up splitting a lot of things.</dialogue>
    <character>MORGAN</character>
    <dialogue>Do you think they knew?</dialogue>
    <character>AUDREY</character>
    <dialogue>I don't know who knows anything anymore. All I know is I really fucking liked that guy...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE - NIGHT (FLASHBACK)</stage_direction>
    <scene_description>The CRASH TEST DUMMIES song is still playing. Audrey and Drew SLOW-DANCE in the bar, half-ironic, Junior High-style.</scene_description>
    <character>AUDREY</character>
    <dialogue>I don't know. Like my best friend always knew she wanted to be an actress. And she's just... a natural at it. I've never had anything like that. I've never had a thing where people are like, "Audrey, this is what you were born to do."</dialogue>
    <character>DREW</character>
    <dialogue>You will.</dialogue>
    <character>AUDREY</character>
    <dialogue>How do you know? You just met me.</dialogue>
    <character>DREW</character>
    <dialogue>I'm a good judge of character.</dialogue>
    <scene_description>Audrey smiles. A moment. Are they going to kiss? Then the song FADES OUT, breaking the moment.</scene_description>
    <character>AUDREY</character>
    <dialogue>Anyway, thanks for the dance.</dialogue>
    <character>DREW</character>
    <dialogue>You too.</dialogue>
    <scene_description>Audrey heads back to MORGAN, drinking at the bar...</scene_description>
    <character>DREW</character>
    <dialogue>Actually, wait.</dialogue>
    <parenthetical>(she turns around)</parenthetical>
    <dialogue>Let's play it again.</dialogue>
    <scene_description>Drew pulls a TWENTY out of his wallet.</scene_description>
    <character>DREW</character>
    <dialogue>Like, a lot of times.</dialogue>
    <scene_description>Audrey laughs, delighted.</scene_description>
    <character>CZECH BORDER GUARD (PRE-LAP)</character>
    <dialogue>Passports?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN - NIGHT</stage_direction>
    <scene_description>CLOSE on two stern-looking CZECH SOLDIERS studying the AUSTRALIAN GIRLS' PASSPORTS. They look up and we -- RACK FOCUS to AUDREY and MORGAN, smiling innocently from their seats. Morgan speaks in a HEAVY AUSTRALIAN ACCENT.</scene_description>
    <character>MORGAN</character>
    <dialogue>Hi! Name's Briony! As you can tell by my accent, I grew up in Perth. Though I live in Sydney now.</dialogue>
    <scene_description>Audrey chimes in awkwardly... in a TEXAS DRAWL.</scene_description>
    <character>AUDREY</character>
    <dialogue>Great uniforms! Thanks y'all!</dialogue>
    <scene_description>The guards stamp their passports and hand them back. Move on. Audrey and Morgan slide the door shut and exhale.</scene_description>
    <character>AUDREY</character>
    <dialogue>I can't believe that worked.</dialogue>
    <character>MORGAN</character>
    <dialogue>Me neither. You sounded like if Matthew McConaughey had a stroke.</dialogue>
    <character>AUDREY</character>
    <dialogue>Wait. I just thought of something.</dialogue>
    <character>MORGAN</character>
    <dialogue>What?</dialogue>
    <scene_description>Audrey picks up the TROPHY. BASHES IT against the armrest.</scene_description>
    <character>MORGAN</character>
    <dialogue>What are you doing?! What if that's like, a bomb?</dialogue>
    <character>AUDREY</character>
    <dialogue>No way. We went through airport security. Twice.</dialogue>
    <scene_description>Sure enough, the trophy CRACKS. There's a FLASH DRIVE inside.</scene_description>
    <character>MORGAN</character>
    <dialogue>Oh my God, dude. Audrey! You are such an operative right now.</dialogue>
    <character>AUDREY</character>
    <dialogue>I bet we'll know what to do and where to go if we can just figure out what's on this thing.</dialogue>
    <scene_description>She pulls out the drive, discards the trophy.</scene_description>
    <character>MORGAN</character>
    <dialogue>But we don't have our laptops. And even if we did, I'm sure it's like, top secret stuff in code or whatever. We'd need some computer genius to figure it out for us...</dialogue>
    <scene_description>SMASH TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. PRAGUE APPLE STORE - DAY</stage_direction>
    <scene_description>The iconic APPLE image above the GENIUS BAR.</scene_description>
    <character>PRAGUE, CZECH REPUBLIC</character>
    <dialogue>A CZECH VERSION of an AMERICAN COMPUTER GEEK -- GAUGED ears, kinda cool, kinda not. NEON GREEN tee. He holds the drive.</dialogue>
    <character>CZECH GENIUS</character>
    <dialogue>It's not something we sell. But let's take a look!</dialogue>
    <scene_description>He opens the nearest LAPTOP and plugs the drive into the USB port. A STREAM OF NUMBERS AND LETTERS APPEAR.</scene_description>
    <character>CZECH GENIUS</character>
    <dialogue>Wow. This is something I have not seen before. Let me ask Lubos...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. PRAGUE APPLE STORE - DAY</stage_direction>
    <scene_description>NINE GENIUSES huddle over the laptop. No other customers are being helped. The STORE MANAGER shakes his head.</scene_description>
    <character>STORE MANAGER</character>
    <dialogue>I've never seen anything like this. This is some serious government Mr. Robot shit. Where did you get this?</dialogue>
    <character>AUDREY</character>
    <dialogue>Uh, Best Buy?</dialogue>
    <character>MORGAN</character>
    <dialogue>My Grandma Rose... who works at Best Buy.</dialogue>
    <scene_description>LUBOS -- ENORMOUS, BEARDED -- pipes up.</scene_description>
    <character>LUBOS</character>
    <dialogue>Wait. Here's something...</dialogue>
    <parenthetical>(he clicks)</parenthetical>
    <dialogue>What if we open up this guy...</dialogue>
    <scene_description>The Geniuses nod, mutter their agreement. ALL POWER IN THE APPLE STORE goes OUT. THE COMPUTERS SMOKE!</scene_description>
    <character>CZECH GENIUS</character>
    <dialogue>What the fuck... ?</dialogue>
    <character>AUDREY</character>
    <parenthetical>(to Morgan)</parenthetical>
    <dialogue>Fuck. Get the drive! Get it out!</dialogue>
    <scene_description>In the darkness, Morgan GRABS THE FLASH DRIVE. They RUN.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION - DAY</stage_direction>
    <scene_description>In the bullpen, on a COMPUTER SCREEN, a NOTIFICATION FLASHES on a DIGITAL MAP. A TECH shouts to the room:</scene_description>
    <character>TECH</character>
    <dialogue>Prague! They're in Prague.</dialogue>
  </scene>
  <scene>
    <stage_direction>I/E. MERCEDES MACLAREN - DAY</stage_direction>
    <scene_description>Nadedja -- intense EDM blasting -- SPEEDS down a highway.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHARLES BRIDGE - DAY</stage_direction>
    <scene_description>The iconic bridge. Packed with tourists, vendors, caricature artists. Morgan and Audrey move through the crowd. Morgan holds the Aussie's POT LEAF PHONE.</scene_description>
    <character>MORGAN</character>
    <dialogue>I just want to tell them I'm safe! I haven't gone a day without talking to my parents, like, ever.</dialogue>
    <character>AUDREY</character>
    <dialogue>Fine. But you cannot tell them what's going on.</dialogue>
    <character>MORGAN</character>
    <dialogue>I can't lie. That's our deal. If I tell the truth, they can't get mad.</dialogue>
    <character>AUDREY</character>
    <dialogue>They might get mad this time.</dialogue>
    <character>MORGAN</character>
    <dialogue>They didn't get mad when I tried cocaine with our rabbi. They didn't get mad when I blew the homeless guy.</dialogue>
    <character>AUDREY</character>
    <dialogue>You didn't know he was homeless though.</dialogue>
    <character>MORGAN</character>
    <dialogue>That's what they said! Trust me. It's better to have someone know where we are right now.</dialogue>
    <scene_description>Audrey sighs but doesn't argue as Morgan steps aside, dials. The phone rings. Morgan's mom CAROL answers.</scene_description>
    <character>CAROL (V.O.)</character>
    <dialogue>Hello?</dialogue>
    <character>MORGAN</character>
    <dialogue>Mom! It's me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAROL AND ARNIE'S LIVING ROOM - DAY- INTERCUT</stage_direction>
    <scene_description>CAROL (50s) sits at the kitchen table in their suburban home, cutting an ARTICLE out of the Asbury Park Press.</scene_description>
    <character>CAROL</character>
    <dialogue>Oh thank God. Arnie, she's okay! Honey you're all over the news.</dialogue>
    <scene_description>REVEAL the article is about AUDREY and MORGAN. "FREEHOLD NATIVE AND FRIEND SOUGHT IN INT'L MURDER CONSPIRACY".</scene_description>
    <character>CAROL</character>
    <dialogue>I'm conferencing your father in.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAROL AND ARNIE'S BATHROOM - SAME- INTERCUT</stage_direction>
    <scene_description>ARNIE (50s) is on the toilet, on his cell.</scene_description>
    <character>ARNIE</character>
    <dialogue>Honey? This is Dad. Where are you? Did you and Audrey murder two people? That's what they said on Channel Seven.</dialogue>
    <character>MORGAN</character>
    <dialogue>No! I mean yes I killed someone but he was an assassin. And then Audrey killed someone in Austria. But that was self-defense...</dialogue>
    <character>ARNIE</character>
    <dialogue>You're in Austria?!</dialogue>
    <character>CAROL</character>
    <dialogue>Arnie, get out of the bathroom. I can hear the echo.</dialogue>
    <scene_description>A FLUSH.</scene_description>
    <character>CAROL</character>
    <dialogue>Oh God, mute yourself. Your father's a pig.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION - DAY</stage_direction>
    <scene_description>A LISTENING STATION picks up a HIT. A map of NEW JERSEY with a blinking dot over FREEHOLD. Another TECH traces the call.</scene_description>
    <character>TECH 2</character>
    <dialogue>Charles Bridge. Prague.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CHARLES BRIDGE - DAY</stage_direction>
    <scene_description>AUDREY nervously looks around at passersby, suspecting everyone. Morgan is still absorbed in her PHONE CALL.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAROL AND ARNIE'S BEDROOM - SAME - INTERCUT</stage_direction>
    <scene_description>Arnie is now sitting on the bed.</scene_description>
    <character>MORGAN</character>
    <dialogue>...And we can't go to the police because they might be in on this. That's what we're trying to figure out right now.</dialogue>
    <character>ARNIE</character>
    <dialogue>Where are you staying tonight?</dialogue>
    <character>MORGAN</character>
    <dialogue>We hadn't gotten that far...</dialogue>
    <character>ARNIE</character>
    <dialogue>Listen. I have a friend. Roger Bernstein. Ophthalmologist. Met him doing Doctors Without Borders. He's got a big place in Prague. Lotta money, that guy. Married a Czech woman. Beautiful girl. Zaftig.</dialogue>
    <character>CAROL</character>
    <dialogue>Arnie.</dialogue>
    <character>ARNIE</character>
    <dialogue>She left him but he stayed on. I think he likes the culture.</dialogue>
    <character>CAROL</character>
    <dialogue>Sexually adventurous.</dialogue>
    <character>ARNIE</character>
    <dialogue>He'll behave. I'll give him a call.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PRAGUE BUILDING - DAY</stage_direction>
    <scene_description>NADEDJA stands on top of BUILDING, behind a SNIPER RIFLE. She looks through her sight at -- THE CHARLES BRIDGE. Nadedja pauses. Makes a CALL. The voice on the other end speaks through a VOICE MODULATOR.</scene_description>
    <character>NADEDJA</character>
    <dialogue>Who am I looking for?</dialogue>
    <character>VOICE MODULATOR (V.O.)</character>
    <dialogue>I texted pictures. Targets are two dumb American women.</dialogue>
    <scene_description>Nadedja looks on her phone. Pictures of AUDREY and MORGAN. She looks through her sight again. THROUGH THE CROSSHAIRS: SO MANY PAIRS OF DUMB AMERICAN WOMEN -- Two SLUTTY GIRLS take duck-face Selfies. A DRUNK CHICK pukes over the side of the bridge while her HUNG-OVER FRIEND holds her hair back. Two girls HUMP a statue of JESUS, cracking each other up. OFF NADEDJA -- she has no idea who to shoot.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHARLES BRIDGE - DAY</stage_direction>
    <scene_description>Audrey, sensing DANGER, leans over to Morgan.</scene_description>
    <character>MORGAN</character>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>Wait, there are Ophthalmologists in Doctors Without Borders?</dialogue>
    <character>AUDREY</character>
    <dialogue>We should go.</dialogue>
    <character>CAROL</character>
    <dialogue>What, you think people in Afghanistan don't have astigmatism?</dialogue>
    <character>ARNIE</character>
    <dialogue>Your judgment is also a border, young lady.</dialogue>
    <scene_description>Audrey GRABS THE PHONE and THROWS IT OFF THE BRIDGE.</scene_description>
    <character>AUDREY</character>
    <dialogue>We have to fucking go!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. STREETS OF PRAGUE - DAY</stage_direction>
    <scene_description>The girls race CITY BIKES through Prague, passing Cathedrals, Museums, etc. Not stopping to see the sights.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E ROGER'S HOUSE - NIGHT</stage_direction>
    <scene_description>Audrey and Morgan POUND ON THE ORNATE WOODEN DOOR as they glance behind them, paranoid. Finally it opens. ROGER (50s) -- cardigan, balding, benign -- appears.</scene_description>
    <character>ROGER</character>
    <dialogue>Whoa there! One of you must need the bathroom.</dialogue>
    <scene_description>Morgan and Audrey just hurry inside and slam the door.</scene_description>
    <character>MORGAN</character>
    <dialogue>Yeah. Sorry. Nice to meet you.</dialogue>
    <character>ROGER</character>
    <parenthetical>(to Audrey)</parenthetical>
    <dialogue>You must be Morgan! You've got your mother's face.</dialogue>
    <character>MORGAN</character>
    <dialogue>Actually... I'm Morgan.</dialogue>
    <character>AUDREY</character>
    <dialogue>Audrey.</dialogue>
    <character>ROGER</character>
    <dialogue>Audrey, has anyone ever told you you've got Morgan's mother's face?</dialogue>
    <scene_description>The uncle humor relaxes them a bit. Roger leads the way upstairs - but the girls linger, glancing at the door.</scene_description>
    <character>AUDREY</character>
    <dialogue>Mind if I lock the door... ?</dialogue>
    <character>ROGER</character>
    <dialogue>Nervous traveler, eh?</dialogue>
    <parenthetical>(she nods)</parenthetical>
    <dialogue>Come on. Let's go help you relax.</dialogue>
    <scene_description>He WINKS as he locks the bolt. The girls cringe a little. Ew.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S DINING ROOM - NIGHT</stage_direction>
    <scene_description>At a candlelit table, Audrey and Morgan serve themselves salad. Roger enters from the kitchen.</scene_description>
    <character>ROGER</character>
    <dialogue>You girls look like you'd enjoy some pot...</dialogue>
    <scene_description>He pulls a POT ROAST off the counter.</scene_description>
    <character>ROGER</character>
    <dialogue>...Roast!</dialogue>
    <scene_description>He cracks himself up.</scene_description>
    <character>AUDREY</character>
    <dialogue>Thank you so much, Roger, I'm starving.</dialogue>
    <scene_description>Audrey serves herself some but Morgan wrinkles her nose.</scene_description>
    <character>MORGAN</character>
    <dialogue>Oooh. Uh... I'm sort of vegan.</dialogue>
    <character>ROGER</character>
    <dialogue>Oh. I wish I'd known...</dialogue>
    <character>MORGAN</character>
    <dialogue>It's kind of a new thing.</dialogue>
    <character>AUDREY</character>
    <dialogue>Except when she gets really drunk and eats bacon-wrapped hot dogs off this gross cart.</dialogue>
    <character>MORGAN</character>
    <dialogue>Drunk Morgan doesn't have the same ethics as sober Morgan.</dialogue>
    <character>AUDREY</character>
    <dialogue>Roger, this is delicious. You're a great cook.</dialogue>
    <character>ROGER</character>
    <dialogue>Morgan, I can't let you eat salad for dinner. What kind of host would I be? I'll just whip something up.</dialogue>
    <scene_description>He ducks back into the kitchen. A moment.</scene_description>
    <character>MORGAN</character>
    <dialogue>Am I crazy or is Roger into me?</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh God.</dialogue>
    <scene_description>Audrey clutches her stomach.</scene_description>
    <character>AUDREY</character>
    <dialogue>I think I'm eating too fast. All this meat is hitting me weird.</dialogue>
    <character>MORGAN</character>
    <dialogue>That's your body questioning your moral decisions.</dialogue>
    <character>AUDREY</character>
    <dialogue>I'm gonna find the bathroom.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S HOUSE - BATHROOM - NIGHT</stage_direction>
    <scene_description>Audrey, pale, clutching her stomach, races into the bathroom and THROWS UP in the toilet.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S HOUSE - DINING ROOM - NIGHT</stage_direction>
    <scene_description>Roger re-emerges with a dish of GRILLED EGGPLANT.</scene_description>
    <character>ROGER</character>
    <dialogue>Here. Eat.</dialogue>
    <character>MORGAN</character>
    <dialogue>You know what? I'm good. I'm trying not to eat when I'm not hungry.</dialogue>
    <character>ROGER</character>
    <dialogue>What happened to Audrey?</dialogue>
    <character>MORGAN</character>
    <dialogue>She went to the bathroom. But I think she's done.</dialogue>
    <character>ROGER</character>
    <dialogue>Then let's retire to the living room, shall we?</dialogue>
    <scene_description>Morgan smiles politely and follows, but she's skeeved out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S HOUSE - BATHROOM - NIGHT</stage_direction>
    <scene_description>Audrey wretches again. IN HER POV... The room is SPINNING.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S HOUSE - LIVING ROOM - NIGHT</stage_direction>
    <scene_description>Roger and Morgan stand before an intense EGON SCHIELE NUDE.</scene_description>
    <character>ROGER</character>
    <dialogue>You like art?</dialogue>
    <character>MORGAN</character>
    <dialogue>She doesn't look like she's enjoying herself.</dialogue>
    <character>ROGER</character>
    <dialogue>Sometimes the sweetest pleasure comes when you're not enjoying yourself.</dialogue>
    <character>MORGAN</character>
    <dialogue>I don't think I agree with that.</dialogue>
    <scene_description>And then Roger PUTS HIS ARM AROUND HER. Morgan stiffens.</scene_description>
    <character>MORGAN</character>
    <dialogue>Uh, hey Roger? You're so nice and my dad says great things about you and everything you did with those refugees' eyes... but...</dialogue>
    <scene_description>He squeezes Morgan's shoulder harder.</scene_description>
    <character>MORGAN</character>
    <dialogue>Ow. That hurts, actually. Can you --</dialogue>
    <scene_description>She realizes Roger's hands are drifting up to her NECK. Before Morgan can stop him, he's SHOVED HER TO THE GROUND.</scene_description>
    <character>MORGAN</character>
    <dialogue>Aaaaaah! Help!</dialogue>
    <scene_description>She kicks Roger in the BALLS.</scene_description>
    <character>ROGER</character>
    <dialogue>Ow! Fuck! Roger climbs on top of Morgan.</dialogue>
    <character>MORGAN</character>
    <dialogue>Audrey!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S HOUSE - BATHROOM- SAME</stage_direction>
    <scene_description>Still in Audrey's POV. Morgan's yelling is muffled. Audrey tries to stand -- but loses her balance. She falls into -- THE SHOWER. THERE'S A DEAD BODY IN THE TUB. A different BALD NERD. THE REAL ROGER. Audrey flails to get off him. It's tough. She's been drugged. She COLLAPSES to the floor, barely conscious.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S HOUSE - LIVING ROOM - SAME</stage_direction>
    <scene_description>Roger, on top of a screaming Morgan, yanks up the side of her shirt and injects her with a TRANQUILIZER.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROGER'S HOUSE - BATHROOM - NIGHT</stage_direction>
    <scene_description>Roger tosses a WOOZY MORGAN into the bathroom with Audrey, slams the door. The girls are barely lucid.</scene_description>
    <character>MORGAN</character>
    <dialogue>Audrey... Roger drugged me...</dialogue>
    <character>AUDREY</character>
    <dialogue>That's not Roger.</dialogue>
    <scene_description>Audrey pulls back the shower curtain, reveals the body. Morgan gasps. Audrey pulls out the flash drive.</scene_description>
    <character>AUDREY</character>
    <dialogue>You have to swallow this.</dialogue>
    <character>MORGAN</character>
    <dialogue>What?</dialogue>
    <character>AUDREY</character>
    <dialogue>So they can't find it. Come on! Before he comes back!</dialogue>
    <character>MORGAN</character>
    <dialogue>You swallow it.</dialogue>
    <character>AUDREY</character>
    <dialogue>I just puked like nine times. I'll just throw it back up.</dialogue>
    <character>MORGAN</character>
    <dialogue>I can't even swallow Advil! I have to mash it up and put it in Applesauce... that thing is huge.</dialogue>
    <character>AUDREY</character>
    <dialogue>Pretend it's that homeless guy.</dialogue>
    <character>MORGAN</character>
    <parenthetical>(fading)</parenthetical>
    <dialogue>Dude. I didn't know...</dialogue>
    <scene_description>Audrey musters the strength to lift Morgan's head to the sink. She runs the water into Morgan's mouth, putting the FLASH DRIVE IN. Morgan tries to swallow... but coughs it up.</scene_description>
    <character>AUDREY</character>
    <dialogue>Lift your head back. Hold your nose.</dialogue>
    <scene_description>Morgan tries holding her nose and dangling the flash drive into her mouth. It goes in... and Morgan starts CHOKING. Audrey SLAPS her on the back. The flash drive flies out. Audrey, passing out, picks up the flash drive, thinking fast-- THE DOOR flies open just AS THE TOILET FLUSHES. "Roger" is flanked by THREE THUGS. IN THE GIRLS' POV, we FADE TO BLACK.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED LOCKER ROOM - DAY</stage_direction>
    <scene_description>The girls come to -- finding their hands are CHAINED TO PIPES above their heads. They're in an old, rusted out locker room.</scene_description>
    <character>MORGAN</character>
    <dialogue>Audrey?</dialogue>
    <scene_description>They're not alone. A MIDDLE AGED COUPLE sits by the SHOWERS. Audrey squints at them -- recognizes them -- gasps! IT'S DREW'S PARENTS. TOM and MARSHA are typical Midwesterner parents -- greying, thick, Patagonias. They look exhausted.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh my God. Tom! Marsha!</dialogue>
    <character>MORGAN</character>
    <dialogue>Who?</dialogue>
    <character>AUDREY</character>
    <dialogue>Drew's parents.</dialogue>
    <parenthetical>(to Tom and Marsha)</parenthetical>
    <dialogue>Oh God. Am I the reason you got dragged into this? Believe me, I never meant for of this to happen. I never meant for Drew to die...</dialogue>
    <character>MORGAN</character>
    <dialogue>Help us get these off before they come back and chain you up too...</dialogue>
    <scene_description>Marsha nods sweetly, crosses slowly to Audrey and... PUNCHES HER HARD ACROSS THE FACE.</scene_description>
    <character>AUDREY</character>
    <dialogue>Ahhhhhh! What the --</dialogue>
    <scene_description>Marsha speaks... with a HEAVY RUSSIAN ACCENT.</scene_description>
    <character>MARSHA</character>
    <dialogue>Shut up, you dumb bitch.</dialogue>
    <character>TOM</character>
    <dialogue>Where's the drive?</dialogue>
    <scene_description>He has an accent too. He approaches Morgan, pulling a KNIFE.</scene_description>
    <character>AUDREY</character>
    <parenthetical>(realizing)</parenthetical>
    <dialogue>You guys are in on this too.</dialogue>
    <character>TOM</character>
    <dialogue>Tell your friend to answer my fucking question.</dialogue>
    <character>AUDREY</character>
    <dialogue>Trust me. Your son would have wanted you to protect us.</dialogue>
    <character>MORGAN</character>
    <dialogue>Uh, Audrey. I don't think those are really Drew's parents.</dialogue>
    <character>AUDREY</character>
    <dialogue>Yes they are! Right?</dialogue>
    <parenthetical>(to Tom and Marsha)</parenthetical>
    <dialogue>That dinner happened. We split the chicken lettuce wraps. We talked about Tom's colonoscopy. We both love Scandal, Marsha! I was team Fitz, you were team Jake! Jake's the good guy! Scott Foley!</dialogue>
    <character>MARSHA</character>
    <dialogue>I can like Scott Foley and be a Russian operative who is not Drew's mother. Drew worked for us.</dialogue>
    <character>TOM</character>
    <dialogue>Where's the fucking drive?!</dialogue>
    <scene_description>He holds the KNIFE to Audrey's throat. A long beat.</scene_description>
    <character>AUDREY</character>
    <dialogue>I... flushed it down the toilet.</dialogue>
    <scene_description>Silence. This is a big fucking deal.</scene_description>
    <character>TOM</character>
    <dialogue>Do you know what you've done?</dialogue>
    <scene_description>He glares at them. It's a scary fucking look.</scene_description>
    <character>TOM</character>
    <dialogue>Nadedja!</dialogue>
    <scene_description>NADEDJA enters, now wearing a FORM-FITTING LEATHER SUIT.</scene_description>
    <character>MARSHA</character>
    <dialogue>Shoot these cunts in the head.</dialogue>
    <character>TOM</character>
    <dialogue>Torture them first. Make sure they're not lying.</dialogue>
    <character>AUDREY</character>
    <dialogue>We're not! We have no reason to lie! We don't even know what's on that drive! No one ever told us!</dialogue>
    <scene_description>They leave the girls with Nadedja. She UNZIPS her CASE -- lays out a bunch of fucked up looking DENTAL EQUIPMENT. Audrey starts shaking. Morgan nervously starts rambling...</scene_description>
    <character>MORGAN</character>
    <dialogue>You're really pretty. Like you're barely human you're so pretty --</dialogue>
    <character>AUDREY</character>
    <dialogue>Morgan, shut up.</dialogue>
    <character>MORGAN</character>
    <dialogue>No! Everybody likes compliments!</dialogue>
    <scene_description>NADEDJA removes a pair of PLIERS. Approaches Morgan.</scene_description>
    <character>MORGAN</character>
    <dialogue>Wow! Did you sharpen that yourself? Do you work with metal often?</dialogue>
    <scene_description>Nadia brings the PLIERS closer.</scene_description>
    <character>MORGAN</character>
    <dialogue>Oh God oh God oh God... EXT. BELGIAN COUNTRYSIDE - DAY</dialogue>
    <character>AUDREY</character>
    <dialogue>Please no, stop!</dialogue>
    <scene_description>A fleet of BLACK SUVs races across the bleak countryside.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E BLACK SUV - SAME</stage_direction>
    <scene_description>Patel drives the lead car. Sebastian sits shotgun.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA, BELGIUM - DAY</stage_direction>
    <scene_description>A long-abandoned, run down ICE HOCKEY RINK from the 70s. That's where the girls are being held. On the ROOF -- the parents and some THUGS load gear into a whirring HELICOPTER. ANGLE ON the DECAL on the chopper -- VOLVO. (Did you know Volvo made choppers? Apparently they do for assassins posing as Midwestern parents)</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOCKER ROOM - DAY</stage_direction>
    <scene_description>Nadedja nears Audrey's mouth with the pliers...</scene_description>
    <character>NADEDJA</character>
    <dialogue>I ask question. If I don't like answer, I take tooth. Same as her.</dialogue>
    <scene_description>A SOB. We reveal Morgan -- BLOOD is pouring from her mouth.</scene_description>
    <character>MORGAN</character>
    <dialogue>That was a fucking wisdom tooth! It was all the way up in there.</dialogue>
    <character>NADEDJA</character>
    <dialogue>Where is the drive?</dialogue>
    <character>AUDREY</character>
    <dialogue>I already told them. I flushed it down the toilet.</dialogue>
    <character>NADEDJA</character>
    <dialogue>I don't like answer.</dialogue>
    <scene_description>She takes the PLIERS to one of Audrey's FRONT TEETH.</scene_description>
    <character>MORGAN</character>
    <dialogue>This is so bad for women!</dialogue>
    <scene_description>Nadedja brutally TWISTS AUDREY'S TOOTH. Audrey GASPS in pain.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA - DAY</stage_direction>
    <scene_description>THE SUVs pull up just in time to see the CHOPPER LEAVING.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BLACK SUV - DAY- CONTINUOUS</stage_direction>
    <scene_description>Patel and Sebastian watch as the chopper retreats.</scene_description>
    <character>PATEL</character>
    <dialogue>Fuck. They got the drive.</dialogue>
    <parenthetical>(into a handset)</parenthetical>
    <dialogue>Okay kids. On my order, scuttle the F-15s. Let's blow this shithole up.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Wait. The girls could be in there.</dialogue>
    <character>PATEL</character>
    <dialogue>If they are, they're either dead or surrounded by terrorists. Also: I don't care.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Just give me five minutes and three agents. I want to check.</dialogue>
    <character>PATEL</character>
    <dialogue>So four agents can get killed? I can't authorize that. And this is my operation.</dialogue>
    <character>THE RADIO (V.O.)</character>
    <dialogue>F-15s are a minute out.</dialogue>
    <character>PATEL</character>
    <dialogue>Sweet. Let's crush this mother like we've crushed Yale in every football game since 2007.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>By "we" I mean Harvard.</dialogue>
    <scene_description>Sebastian makes a snap decision. He SLAMS PATEL'S HEAD INTO THE STEERING WHEEL, knocking him out. Sebastian seizes his RADIO. Does his best Patel impression:</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Actually guys, hold up? Abort mission.</dialogue>
    <character>THE RADIO (V.O.)</character>
    <dialogue>Roger that.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Go Crimson.</dialogue>
    <scene_description>He HANDCUFFS Patel to the steering wheel.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA - MOMENTS LATER</stage_direction>
    <scene_description>Sebastian, HANDGUN up, creeps along the side of the building.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED ICE HOCKEY ARENA - CONTINUOUS</stage_direction>
    <scene_description>A GUARD on the other side of the door with a RIFLE. Sebastian leaps out of nowhere -- KICKS HIM IN THE FACE -- we see his training in action. The Guard's rifle CLANGS to the ground. Sebastian STOMPS on his fallen body. He's out. THROUGH ANOTHER SET OF DOORS Sebastian peeks out -- moves quietly -- hiding under a BLEACHER. Takes in the cavernous HOCKEY RINK. Rats scuttle across DIRT where the ICE used to be. A MASSIVE DECREPIT ZAMBONI in the corner. A moldy old HOCKEY GOAL. In the shadows, creepy THUGS stalk, on patrol. A muffled SCREAM from across the rink. Sebastian spots the locker room door on the far side. Knows they're in there. FLICK! A RUSSIAN GUARD lights a cigarette inches from Sebastian -- doesn't see him. He takes a drag, enjoying it. He'd better - it'll be his last ever. He walks a couple paces, around the ZAMBONI -- Sebastian's waiting. In one fluid move, he has the guard in a headlock -- shoves the lit cigarette into his mouth -- holds it closed as the guard burns from the inside. Then crumples. Sebastian drops him -- runs swiftly, unseen, under the rink- side barriers. Stops a few yards from the LOCKER ROOM... A CARD TABLE stands in the way. NINE BAD FUCKING GUYS around it. All with guns on them. Eating, drinking, laughing. Sebastian silently checks his clip. He wouldn't have enough bullets for all of them even if every shot was perfect. Fuck.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOCKER ROOM - DAY</stage_direction>
    <scene_description>Blood is now streaming out of both the girls' mouths. Nadedja smiles for the first time -- albeit sadistically -- as she pulls out JUMPER CABLES attached to a CAR BATTERY.</scene_description>
    <character>AUDREY</character>
    <dialogue>I'm telling you we don't know anything!</dialogue>
    <character>MORGAN</character>
    <dialogue>I've never kept a secret in my life! I tell everyone everything!</dialogue>
    <scene_description>Nadedja just hits the jumpers together. SPARKS fly.</scene_description>
    <character>MORGAN</character>
    <dialogue>I have herpes!</dialogue>
    <character>AUDREY</character>
    <dialogue>What are you doing?</dialogue>
    <character>MORGAN</character>
    <dialogue>Proving to her that I'm honest and have nothing to hide! I stole my dad's painkillers from his hernia surgery and sold them at Coachella!</dialogue>
    <scene_description>Nadedja approaches Morgan with the jumpers...</scene_description>
    <character>MORGAN</character>
    <dialogue>I text while I drive -- drunk -- all the time! I once made out with this guy who has a hormone disorder where he looks twelve. He's actually forty, but still! It's like I hooked up with a child!</dialogue>
    <character>AUDREY</character>
    <dialogue>Morgan. This is not helping--</dialogue>
    <character>MORGAN</character>
    <dialogue>Tell her something personal about you.</dialogue>
    <character>AUDREY</character>
    <dialogue>No!</dialogue>
    <character>MORGAN</character>
    <dialogue>Audrey has a recurring sex dream about Turtle from Entourage!</dialogue>
    <scene_description>Nadedja SHOCKS MORGAN. Morgan SCREAMS. Blinding pain.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E. BLACK SUV - DAY</stage_direction>
    <scene_description>Patel stirs awake -- groggily realizes what happened. Then realizes his hand is CUFFED.</scene_description>
    <character>PATEL</character>
    <dialogue>You fucking dick, Henshaw.</dialogue>
    <scene_description>Fuming, he reaches down with his free arm, manages to grab the WIRE to his mouthpiece. Talks into it.</scene_description>
    <character>PATEL</character>
    <dialogue>Okay! Send the F-15s.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ABANDONED ICE HOCKEY ARENA - DAY</stage_direction>
    <scene_description>SEBASTIAN HEARS THIS...</scene_description>
    <character>PATEL (V.O.)</character>
    <dialogue>Drop the payload. Now.</dialogue>
    <scene_description>SEBASTIAN knows he has to move. Now. THE ZAMBONI -- MOMENTS LATER Sebastian sits astride the beast. There's no way this thing still works, right? No fucking way. But he has to try. He turns the IGNITION. It burps awake. Fucking miracle. AT THE CARD TABLE The thugs are confused. What the fuck is that? THE ZAMBONI ROARS AHEAD -- NOW ON TOP OF THEM. SEBASTIAN drives. One moment the table was full of scary dudes. Now a THREE TON hunk of metal and giant spinning blades SHRED the life out of every one of them. Someone's SEVERED HAND flies into the HOCKEY GOAL. Sebastian doesn't have time to be impressed with himself -- A GIANT MAN pulls him out of his seat. No actually, a straight up HULK -- pulls him to the ground. Stands over him. This guy is the biggest monster Russia has ever created and he's about to crush Sebastian. Sebastian KICKS. Gets him in the shin. This is nothing to him. Hulk leans down, takes Sebastian's left arm. SNAPS IT. Blinding pain. Then Hulk SHOOTS him in the OTHER SHOULDER. Sebastian writhes in agony as the thug points his gun at Sebastian's head. So much for playing hero. He's gonna die. One last ditch thought -- Sebastian grabs for his gun. With two fucked up arms, he can't AIM so he just SHOOTS WILDLY. WHEREVER HE CAN. Hulk laughs. Bullets nowhere near him, but -- ONE BULLET ricochets around the rafters, hits a CHAIN. Which holds -- AN ANCIENT SCOREBOARD. The scoreboard FALLS, right on the Hulk. CRUSHES his SKULL.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOCKER ROOM - DAY</stage_direction>
    <scene_description>Hearing the LOUD NOISE, Nadedja turns. What was that? A momentary reprieve for Morgan and Audrey as she grabs two guns and heads toward the noise...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OUTSIDE THE LOCKER ROOM - SAME</stage_direction>
    <scene_description>Sebastian crouches under the bleachers as NADEDJA'S HIGH HEELS pass. Once she's gone -- he crawls to the locker room.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LOCKER ROOM - CONTINUOUS</stage_direction>
    <scene_description>Sebastian enters and GASPS. Audrey and Morgan look horrible. But they're alive. Seeing him, they start collapsing in sobs -- but there's no time --</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>We have to move fast.</dialogue>
    <scene_description>Sebastian struggles to lift Audrey -- unhooks her from the pipe she hangs from. Not easy given his own injuries... Audrey unhooks Morgan. They hurry toward the BACK EXIT--</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ABANDONED ICE HOCKEY ARENA - DAY</stage_direction>
    <scene_description>A bloody, hobbled Audrey, Morgan and Sebastian hurry out of the arena into the sunlight. The girls stop.</scene_description>
    <character>AUDREY</character>
    <dialogue>Where are we -- ?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Keep moving! Go! Go!</dialogue>
    <scene_description>The F-15s buzz over the ARENA. DROP THEIR PAYLOAD. Sebastian pulls them away as fast as he can as the building -- EXPLODES. A fiery boom. Then just a fire. The old rink is now a HEAP of RUBBLE along with everyone inside. At least they're safe. Sebastian crouches over the girls, shielding them from the debris. As the smoke clears:</scene_description>
    <character>AUDREY</character>
    <dialogue>Okay. I trust you now.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Jesus, I should hope so.</dialogue>
    <scene_description>But when the smoke clears... there are FIFTY SPECIAL FORCES AGENTS surrounding them. Guns drawn. Oh shit.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION, HOLDING CELL - DAY</stage_direction>
    <scene_description>Sebastian -- one arm bandaged, one in a SLING -- sits with the girls in a holding room.</scene_description>
    <character>AUDREY</character>
    <dialogue>Be honest. Does this look fake?</dialogue>
    <scene_description>She smiles. An UNNATURALLY WHITE FAKE TOOTH where hers was.</scene_description>
    <character>MORGAN</character>
    <dialogue>You know I would never lie to you.</dialogue>
    <scene_description>Morgan leaves it at that. Audrey turns to Sebastian.</scene_description>
    <character>AUDREY</character>
    <dialogue>I should have just given you the drive in the cafe. Then none of this would have happened.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I wouldn't have believed me either. Drew told you to keep it safe.</dialogue>
    <character>MORGAN</character>
    <dialogue>Okay. Can you just tell us what is on that fucking drive?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I actually don't know. What I know is it was made by an international terrorist group called Highland. Intelligence tells us they're planning a series of assassinations. High profile people. The plans will be on that drive. So if we had it, we'd know how to stop them.</dialogue>
    <scene_description>Audrey is about to say something when -- THE DOOR OPENS. WENDY enters with PATEL -- his nose broken and bandaged.</scene_description>
    <character>WENDY</character>
    <dialogue>Henshaw? My office. Patel, stay here.</dialogue>
    <scene_description>Sebastian glances back at the girls, then follows Wendy out. In their wake, PATEL is alone with the girls. Awkwardly:</scene_description>
    <character>AUDREY</character>
    <dialogue>What happened to your nose?</dialogue>
    <character>PATEL</character>
    <dialogue>Your new best friend slammed my head into a steering wheel so he could put our entire team at risk. In order to save you.</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh.</dialogue>
    <scene_description>An awkward silence.</scene_description>
    <character>MORGAN</character>
    <dialogue>So, "Patel." Do you know a Danny Patel who went to Wesleyan?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION - WENDY'S OFFICE - DAY</stage_direction>
    <scene_description>Wendy coldly sits across from Sebastian.</scene_description>
    <character>WENDY</character>
    <dialogue>Henshaw, you read English at university. Did you ever learn the word "hierarchy"?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Wendy, I know I --</dialogue>
    <character>WENDY</character>
    <dialogue>How about the word "treason"? That's a good one. Love when it comes up in the crossword.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I know I overstepped --</dialogue>
    <character>WENDY</character>
    <dialogue>Overstepped? Overstepping is wearing a tank top on Casual Friday. Overstepping is stealing my Activia from the office fridge even though I brought it from home.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I didn't steal your Activia.</dialogue>
    <character>WENDY</character>
    <dialogue>Goddammit. We work for an international intelligence organization and I can't figure out who's been eating my yogurt. My point is you did a lot more than overstep. You violated my direct orders, handcuffed your superior and went into a building swarming with terrorists without backup.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I know. I exercised poor judgment --</dialogue>
    <character>WENDY</character>
    <dialogue>Which one of them is it?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Sorry?</dialogue>
    <character>WENDY</character>
    <dialogue>The only reason I can fathom why you'd put the entire mission on the line to save two girls' lives is you're in love with one of them. So which one is it?</dialogue>
    <character>WENDY</character>
    <dialogue>The one with the tooth or the one who invited me to see her in Pippin at the Santa Monica Playhouse?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION HOLDING CELL - LATER</stage_direction>
    <scene_description>PATEL paces the room, enjoying this. The girls are upset.</scene_description>
    <character>PATEL</character>
    <dialogue>So what was going through your mind exactly when you flushed it down the toilet? "This thing is so important that actual people are actually dying because of it. So I know what I'll do! I'll treat it like a piece of shit wrapped in a piece of toilet paper."</dialogue>
    <scene_description>Morgan involuntarily LAUGHS. Claps a hand over her mouth.</scene_description>
    <character>PATEL</character>
    <dialogue>This is funny? Death is funny to you?</dialogue>
    <character>MORGAN</character>
    <dialogue>No, just... that's how you go to the bathroom?</dialogue>
    <scene_description>Audrey starts quietly laughing too.</scene_description>
    <character>PATEL</character>
    <dialogue>Go ahead. Laugh. Meanwhile, I'll tell you how many lives were lost and will be lost because of you.</dialogue>
    <character>MORGAN</character>
    <dialogue>...So let me get this straight. You take a piece of toilet paper and what? You like wrap your hands in it and then poop into it, and then take that whole contraption and that's what you drop into the toilet? You know the toilet is designed to take all that work out of it for you?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION. WENDY'S OFFICE - DAY</stage_direction>
    <scene_description>Wendy and Sebastian, as before.</scene_description>
    <character>WENDY</character>
    <dialogue>How long did the doctor say it would take your arm to heal?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Two months for the bullet wound. Three for the fracture.</dialogue>
    <character>WENDY</character>
    <dialogue>Great. Take a five month leave.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Oh, I assume he meant the two arms will heal simultaneously.</dialogue>
    <character>WENDY</character>
    <dialogue>I know what I said.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION HOLDING CELL - DAY</stage_direction>
    <scene_description>Patel is in the middle of berating the girls. He leans in.</scene_description>
    <character>PATEL</character>
    <dialogue>And every time you hear the song that will be recorded by Sting (featuring Bruno Mars) about everyone who's about to be killed, just know that that song would never have had to be made if you two weren't such fuck-ups.</dialogue>
    <character>AUDREY</character>
    <dialogue>Okay. We get it.</dialogue>
    <character>PATEL</character>
    <dialogue>Oh, sorry, have you had enough?</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Drew was right about you.</dialogue>
    <scene_description>Audrey FLINCHES. Patel savors this.</scene_description>
    <character>PATEL</character>
    <dialogue>You're nothing to him. Just a place for him to put his stuff. Because no one would ever suspect you of anything. No one would ever think you were important enough.</dialogue>
    <scene_description>This hangs in the air for Audrey. The door opens and SEBASTIAN re-enters. Avoids Patel, addresses the girls.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>I just wanted to say goodbye. You're on the next flight to LA.</dialogue>
    <character>MORGAN</character>
    <dialogue>What happens when we get there? Are we gonna go to jail?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>No, we'll take care of it. That's what we do here.</dialogue>
    <character>PATEL</character>
    <dialogue>Actually Henshaw, not to be a grammarian here but you're not technically included in "we" anymore when referring to what we do here. Since you're suspended.</dialogue>
    <scene_description>Sebastian seethes but doesn't say anything.</scene_description>
    <character>PATEL</character>
    <dialogue>Now how about you drop these two at the airport on your way home? Good practice for your next career driving a SuperShuttle.</dialogue>
  </scene>
  <scene>
    <stage_direction>I/E. TOYOTA COROLLA - DAY</stage_direction>
    <scene_description>Sebastian drives his modest car out of the parking garage. Audrey sits shotgun, Morgan in the back.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Sorry about all the dog hair back there.</dialogue>
    <character>MORGAN</character>
    <dialogue>I'm surprised they don't give you more of a badass James Bond car.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I don't have company car privileges right now. Or for the next five months.</dialogue>
    <character>AUDREY</character>
    <dialogue>Ugh. We ruined your life.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>No you didn't. I'll be fine. And I don't know what Patel said to you in there but this situation would be much worse if you hadn't flushed that drive and it ended up in the wrong hands.</dialogue>
    <character>MORGAN</character>
    <dialogue>But a lot of people are gonna die.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>And they would have died if you'd never found the drive in the first place. This is not your fault.</dialogue>
    <scene_description>A moment.</scene_description>
    <character>AUDREY</character>
    <dialogue>Just out of curiosity, if we did still have the drive, what would have happened?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Well, hopefully we could de-encrypt it. Then ideally, we'd see what Highland's plans are and stop them.</dialogue>
    <character>AUDREY</character>
    <dialogue>How do you de-encrypt something?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Why do you want to know?</dialogue>
    <character>AUDREY</character>
    <parenthetical>(a nervous beat)</parenthetical>
    <dialogue>Because the drive is in my vagina.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Sorry?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah...</dialogue>
    <scene_description>Sebastian and Morgan are SHOCKED.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Wait.</dialogue>
    <character>MORGAN</character>
    <dialogue>Are you fucking kidding?!</dialogue>
    <character>AUDREY</character>
    <dialogue>You told me it was important! I'm not going to flush something that important down the toilet!</dialogue>
    <character>MORGAN</character>
    <dialogue>So it's in there right now? Doesn't that hurt?</dialogue>
    <character>AUDREY</character>
    <dialogue>You get used to it.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>So even when you were being tortured... you didn't give it up.</dialogue>
    <scene_description>Sebastian is really impressed with Audrey.</scene_description>
    <character>MORGAN</character>
    <dialogue>The ultimate irony would be if you saved the world, then died of Toxic Shock Syndrome.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Right then, not to be impolite but do you think you might... access it? From... the place where--</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah. Everyone turn your head.</dialogue>
    <scene_description>ANGLE on AUDREY'S FACE as she unzips, removes the flash drive. A moment, then another ZIP. She holds out the drive.</scene_description>
    <character>AUDREY</character>
    <dialogue>Should I just put it...</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Uh, I'll take that.</dialogue>
    <scene_description>An awkward -- and extremely intimate -- moment as Audrey hands the drive to Sebastian. He puts it on the dash, then turns off at an exit for CHARLES DE GAULLE AIRPORT.</scene_description>
    <character>MORGAN</character>
    <dialogue>Where are you going after this? Back to headquarters or whatever?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah. I'm sure they'll un-suspend you if you show up with this.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Maybe. But I may try to take this one on myself.</dialogue>
    <character>AUDREY</character>
    <dialogue>How? Look at you. You're like, disabled right now.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I'll figure something out.</dialogue>
    <scene_description>A moment. Audrey and Morgan exchange a look.</scene_description>
    <character>AUDREY</character>
    <dialogue>Dude, no. I'm not gonna sit on the plane watching Cake Boss while you're risking your life to clean up a mess we made. I want to help.</dialogue>
    <character>MORGAN</character>
    <dialogue>Me too. You can't do this alone.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>No. No. You two have risked your lives enough as it is.</dialogue>
    <scene_description>A moment. Then the other part of the truth comes out.</scene_description>
    <character>MORGAN</character>
    <dialogue>But... I don't want to go back yet.</dialogue>
    <character>AUDREY</character>
    <dialogue>Me neither. This might sound stupid because this is your job and it's really serious and dangerous, but I feel like this is something we could actually be... good at.</dialogue>
    <character>MORGAN</character>
    <dialogue>I know. This is everything I love about theater and I'm finally getting to do it. Just pretending to be a spy.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>You're not pretending.</dialogue>
    <scene_description>Sebastian DOES AN AGGRESSIVE U-TURN. New plan.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BIBLIOTHEQUE MAZARINE - DAY</stage_direction>
    <scene_description>A gorgeous historical library on the Seine facing the LOUVRE.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - DAY</stage_direction>
    <scene_description>Breathtaking details, centuries-old books. A tourist destination. But these are no ordinary tourists. The READING ROOM -- Sebastian inserts the FLASH DRIVE into his laptop while the girls look on. The same ENCRYPTED numbers and letters that appeared in the Apple Store pop up.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Hmmmm. That's odd.</dialogue>
    <scene_description>He LOOKS DOWN AT THE DRIVE. Then back at Audrey. Then back at the DRIVE. Audrey gets paranoid about what he's judging.</scene_description>
    <character>AUDREY</character>
    <dialogue>Whatever dude. Not every woman is like, a waxed porn star. We have stuff going on in there.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>No, no. I mean on the drive... this is State Department encryption.</dialogue>
    <character>MORGAN</character>
    <dialogue>Meaning?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Highland didn't make this. Your government did. I can't access it. I don't have clearance. I'm suspended.</dialogue>
    <character>AUDREY</character>
    <dialogue>Can't you just hack the password? You're a spy.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>They change it every 24 hours. It's 16 characters. Numbers, letters, case-sensitive. Even if I had a supercomputer, it would take days.</dialogue>
    <character>AUDREY</character>
    <dialogue>So... what are you saying?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>We can't get into the flash drive. I'm saying we lost.</dialogue>
    <scene_description>A sober moment for all of them.</scene_description>
    <character>MORGAN</character>
    <dialogue>There must be something else we can do.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Not unless you have access to some sort of expert on U.S. intelligence computer security.</dialogue>
    <scene_description>Morgan gets an idea.</scene_description>
    <character>MORGAN</character>
    <dialogue>Actually, hold on.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - NIGHT</stage_direction>
    <scene_description>Two FRENCH STUDENTS absorbed in MATH TEXTBOOKS. Around them, the usual student technology -- laptops, mobiles, etc. Morgan appears at their table. In her best French accent --</scene_description>
    <character>MORGAN</character>
    <dialogue>Où est la bibliothèque?</dialogue>
    <scene_description>They students are confused.</scene_description>
    <character>FRENCH STUDENT</character>
    <dialogue>You're already at the library.</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah, sorry, it's the only thing I remember from high school French.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>I'm just gonna borrow this for one second. Be right back.</dialogue>
    <scene_description>She grabs one of their MOBILES and steps outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MOSCOW HOTEL - DAY- INTERCUT</stage_direction>
    <scene_description>The back of someone's head, staring out the window at the KREMLIN as he ties a TIE. His phone buzzes. He looks at the number, doesn't recognize it, but answers it anyway.</scene_description>
    <character>EDWARD SNOWDEN</character>
    <dialogue>This is Edward.</dialogue>
    <character>MORGAN</character>
    <dialogue>Eddie? Eddie Snowden?</dialogue>
    <scene_description>Yes -- it's EDWARD SNOWDEN.</scene_description>
    <character>MORGAN</character>
    <dialogue>It's Morgan. From Buck's Rock Camp.</dialogue>
    <scene_description>Edward Snowden loses his shit.</scene_description>
    <character>EDWARD</character>
    <dialogue>Oh my God, Morgan! How are you? It's been forever. I've sent you a bunch of emails over the years... I thought maybe you didn't have your AOL account anymore.</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah, I have a Gmail now.</dialogue>
    <character>EDWARD SNOWDEN</character>
    <dialogue>Actually... I knew that.</dialogue>
    <character>MORGAN</character>
    <dialogue>Right. I guess you would.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>So hey. I need a really big favor.</dialogue>
    <scene_description>A knock at Edward's hotel room door. A RUSSIAN AIDE appears.</scene_description>
    <character>RUSSIAN AIDE</character>
    <dialogue>Sir, Mr. Putin is ready for you.</dialogue>
    <character>EDWARD SNOWDEN</character>
    <dialogue>He can wait.</dialogue>
    <parenthetical>(into phone)</parenthetical>
    <dialogue>What do you need, Morgan? Anything.</dialogue>
    <character>MORGAN</character>
    <dialogue>Are you near a computer?</dialogue>
    <character>EDWARD SNOWDEN</character>
    <dialogue>Always.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CIA SITUATION ROOM - DAY</stage_direction>
    <scene_description>In the SITUATION ROOM, Wendy stares at the screens. Silence. Then a CIA TECHNICIAN notices something on his computer.</scene_description>
    <character>CIA TECHNICIAN</character>
    <dialogue>Ma'am! Ma'am.</dialogue>
    <parenthetical>(Wendy looks over)</parenthetical>
    <dialogue>They didn't get on their flight.</dialogue>
    <character>WENDY</character>
    <dialogue>Shit.</dialogue>
    <scene_description>She turns to PATEL.</scene_description>
    <character>WENDY</character>
    <dialogue>Either those dum-dums took their selfie sticks to the Eiffel Tower or they lied about not having the drive and they're on the run. Which agent took them to the airport?</dialogue>
    <scene_description>Patel freezes. He fucked up.</scene_description>
    <character>PATEL</character>
    <dialogue>I, uh, sent Henshaw.</dialogue>
    <character>WENDY</character>
    <dialogue>You sent the agent I just suspended for insubordination?</dialogue>
    <character>PATEL</character>
    <dialogue>I'll fix it.</dialogue>
    <character>WENDY</character>
    <dialogue>You'd better. Give me an excuse to leave couples therapy early. I'm sick of watching my husband cry.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - DAY</stage_direction>
    <scene_description>Sebastian types in the password Morgan reads off...</scene_description>
    <character>MORGAN</character>
    <dialogue>...Two, upper case L, at sign, at sign, asterisk, lower-case j...</dialogue>
    <scene_description>ON THE SCREEN: A CHECK MARK. Sebastian and Audrey exchange a look, amazed. Sebastian hastily downloads the de-encryption key. He's in.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BIBLIOTHEQUE MAZARINE - LATER</stage_direction>
    <scene_description>Morgan is now trying desperately to wrap it up with Snowden.</scene_description>
    <character>MORGAN</character>
    <dialogue>Yeah. Yeah. Totally. I love the Mighty Mighty Bosstones too. Makes sense that they're touring Eastern Europe now... I'll definitely try to make it.</dialogue>
    <character>MORGAN</character>
    <dialogue>But if I can't, call me if you're ever in LA!... Oh right, I guess I knew that. K then... bye.</dialogue>
    <scene_description>She hangs up on Edward Snowden. ON SEBASTIAN'S LAPTOP: ICONS flood the screen and don't stop. There must be millions. Sebastian's eyes widen.</scene_description>
    <character>AUDREY</character>
    <dialogue>What? What's on the drive.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>These... aren't Highland's plans. This is a lot bigger.</dialogue>
    <scene_description>Sebastian SLAMS THE LAPTOP SHUT just as Morgan returns.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>We have to get out of here.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. EUROPEAN HOTEL ROOM - SUNSET - INTERCUT</stage_direction>
    <scene_description>In a lavish bed in a luxury hotel in Europe somewhere sits -- NADEDJA. She's still alive? What the fuck? Her PROFILE, haunting beauty, lit by the sunset. She's stone- faced, chain smoking, surrounded by artillery. EURO MTV plays low in the background but she stares out the window. Her CELL buzzes. She answers in CROATIAN.</scene_description>
    <character>NADEDJA</character>
    <dialogue>Zdravo.</dialogue>
    <scene_description>A VOICE speaks through a VOICE MODULATOR.</scene_description>
    <character>VOICE MODULATOR</character>
    <dialogue>I need to add another target.</dialogue>
    <character>NADEDJA</character>
    <dialogue>Double rate.</dialogue>
    <character>VOICE MODULATOR</character>
    <dialogue>No. You failed once. The girls are still alive. You should be happy we're still working with you. I'll send you everything you need.</dialogue>
    <scene_description>We stay on NADEDJA as her A TEXT comes through. A picture of SEBASTIAN. Then, LINK to GOOGLE MAPS with a MOVING DOT. Nadedja turns to assemble her weapons -- and we reveal -- HALF HER FACE IS MELTED OFF. Hideously deformed. The bombing at the ice rink. Well... she's survived worse.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUBURBAN PARIS SHOPPING CENTRE PARKING LOT - DAY</stage_direction>
    <scene_description>By the parked Corolla, Sebastian switches the SIM CARD in his phone -- opens the TRUNK, pulls out DRY CLEANING.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Here. Change your clothes. We need to ditch anything they could use to find out where we're going.</dialogue>
    <character>AUDREY</character>
    <dialogue>Where are we going?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Amsterdam. I know a place we can hide.</dialogue>
    <scene_description>As they all put on Sebastian's DRESS SHIRTS...</scene_description>
    <character>MORGAN</character>
    <dialogue>Oh my God my friend Beth lives in Amsterdam! She just emailed me about a new gallery show.</dialogue>
    <parenthetical>(to Sebastian)</parenthetical>
    <dialogue>She uses pipe cleaners and glitter to discuss draconian abortion access in contemporary India.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Interesting. Do you want your friend Beth to die?</dialogue>
    <character>MORGAN</character>
    <dialogue>I wasn't saying we should go.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Unless we get this all resolved and we're safe. Then I wouldn't mind supporting her.</dialogue>
    <scene_description>Meanwhile, Audrey tries not to stare at Sebastian's body as she helps him button his shirt. Dude's in great shape. He catches her looking. An awkward moment as they both redden. There's tension -- and not just the life and death kind. A series of QUICK CUTS, over energetic music -- -Morgan THROWS ALL THEIR CLOTHES into a DUMPSTER. -Sebastian pulls a stash of SPY SHIT -- MONEY, PASSPORTS, GUNS, GADGETS, A PACK OF CIGARETTES -- from his glove box... -Sebastian walks Morgan through JIMMYING the lock on another car, a modest PEUGEOT HATCHBACK. Then through hot-wiring it.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FRENCH HIGHWAY - MINUTES LATER</stage_direction>
    <scene_description>The Peugeot zips out on to the road. Success.</scene_description>
  </scene>
  <scene>
    <stage_direction>I/E. A PARIS TRAIN - NIGHT</stage_direction>
    <scene_description>NADEDJA in a CLOSED TRAIN CAR -- bad side facing away from us, toward the window. She tracks the moving DOT. KNOCK KNOCK! A sleazy SPANISH GUY slides the door open.</scene_description>
    <character>SPANISH GUY</character>
    <dialogue>Good evening, beautiful.</dialogue>
    <scene_description>He sits next to her. Nadedja blithely turns, revealing the other side of her face -- now bandaged but SOAKED WITH BLOOD.</scene_description>
    <character>SPANISH GUY</character>
    <dialogue>Bella, what happened to your face?</dialogue>
    <scene_description>Nadedja calmly lifts a hand and BASHES HIS NOSE IN. Amused:</scene_description>
    <character>NADEDJA</character>
    <dialogue>What happened to yours?</dialogue>
  </scene>
  <scene>
    <stage_direction>I/E. SEBASTIAN'S CAR - MIDDLE OF THE NIGHT</stage_direction>
    <scene_description>Sebastian and Audrey up front, Morgan sleeping in back.</scene_description>
    <character>AUDREY</character>
    <dialogue>So what kind of dog do you have?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Well, had.</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh. I'm sorry.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>No. No. The dog's still alive. He just lives with my ex.</dialogue>
    <character>AUDREY</character>
    <dialogue>Do you ever see him?... Or her? Or, sorry, maybe they're both "him," I don't mean to be presumptuous.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>The dog's a "he." The ex is a "she."</dialogue>
    <character>AUDREY</character>
    <dialogue>Got it. What happened?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>You know. The usual. I worked too much. We never saw each other. She was having an emotional affair with one of her coworkers. They were always hugging. They once hugged for five minutes.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Just try to hug someone for five minutes. I bet you can't.</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah, that's a really long time.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Also I found out she was selling weapons to the Chinese government.</dialogue>
    <character>AUDREY</character>
    <dialogue>Where is she now?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Off the grid. I lost track of her -- and Banjo -- somewhere along the Kyrgyzstan border.</dialogue>
    <character>AUDREY</character>
    <dialogue>I'm really sorry.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Yeah. Breakups suck. As you know.</dialogue>
    <scene_description>A moment of connection.</scene_description>
    <character>AUDREY</character>
    <dialogue>They just make you feel crazy. Like, you're with someone for ten months, you think you're in love... then you're like, oh wait, that was all a lie. I was just a vagina for him to store a flash drive in.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>It's more complicated than that. People reveal who they are in the end. It doesn't mean what you had wasn't real.</dialogue>
    <character>AUDREY</character>
    <dialogue>Morgan says Drew was always a selfish dick.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>And what do you think?</dialogue>
    <character>AUDREY</character>
    <dialogue>I mean, he did bring assassins to my apartment. But then again, so did you.</dialogue>
    <character>SEBASTIAN</character>
    <parenthetical>(smiling)</parenthetical>
    <dialogue>Shut up.</dialogue>
    <scene_description>In the back, MORGAN wakes up.</scene_description>
    <character>MORGAN</character>
    <dialogue>Hey guys? I know we're on the run from a shit-ton of people but can we eat soon? I'm fucking starving.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ROTTERDAM, NETHERLANDS - DAY</stage_direction>
    <scene_description>The sun rises over the gorgeous town.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AN OFFICE - DAY</stage_direction>
    <scene_description>Long, thin fingers type into a PHONE. "Targets located." NADEDJA stands in a corporate office -- empty for the weekend -- overlooking a quaint outdoor cafe. Through her SCOPE...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OUTDOOR CAFE - SAME</stage_direction>
    <scene_description>AUDREY, MORGAN and SEBASTIAN eat breakfast - in her CROSSHAIRS. We leave Nadedja's POV and pull closer... revealing... It's NOT THEM. It's the AUSTRALIAN TOURIST GIRLS they stole passports from in Vienna. And some RANDOM SKEEVY GUY. One of the girls wears SEBASTIAN'S JACKET FROM EARLIER.</scene_description>
    <character>AUSSIE TOURIST 1</character>
    <dialogue>How cute is this jacket?</dialogue>
    <character>AUSSIE TOURIST 2</character>
    <dialogue>I can't believe you found it in a dumpster. You always find the best secondhand stuff.</dialogue>
    <character>SKEEVY GUY</character>
    <dialogue>Yeah, so, you guys into threesomes?</dialogue>
    <scene_description>BAM-BAM-BAM! All three collapse, instantly dead --</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. A DIFFERENT CAFE - DAY</stage_direction>
    <scene_description>In an entirely different CAFE, our three heroes eat Dutch apple pancakes in peace. Totally safe. For now.</scene_description>
    <character>AUDREY</character>
    <dialogue>So Sebastian, is this what your job is like all the time?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Uh, no. Mostly it's a lot of paperwork. Reading reports. Waiting to get sent into the field.</dialogue>
    <character>AUDREY</character>
    <dialogue>At least you have a field. My field is a conveyor belt with almond milk and cruelty-free chicken coming at me. Reeeeally slowly. With plenty of time for me to intercept them.</dialogue>
    <character>MORGAN</character>
    <dialogue>I've never had a job. But I love hearing about jobs. Maybe I should get a job here serving pannekoeken. I do a really good Dutch accent. Audrey knows.</dialogue>
    <character>AUDREY</character>
    <dialogue>She played a guard in Diary of Anne Frank.</dialogue>
    <character>MORGAN</character>
    <dialogue>The part was written as a man but at Oberlin we did a Gender-Switch version.</dialogue>
    <scene_description>On Sebastian -- what the fuck are they talking about?</scene_description>
    <character>AUDREY</character>
    <dialogue>Speaking of hiding out, where are we staying tonight? Do we finally get to sleep in a real hotel?</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah, like one of those ones in Bond where there just happens to be a private waterfall for him to have sex under?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>No. We need to stay somewhere we won't stand out. Where we don't seem weird. Because everyone there will be weirder.</dialogue>
    <scene_description>SMASH TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FLYING PIG YOUTH HOSTEL, AMSTERDAM - NIGHT</stage_direction>
    <scene_description>A grimy YOUTH HOSTEL. Full of freaks. A JAPANESE GUY plays with a POSSUM. A SWISS GUY openly sells COCAINE. A THRUPLE of IRISH TOURISTS make out.</scene_description>
    <character>AMSTERDAM, THE NETHERLANDS</character>
    <dialogue>At the check-in desk, Sebastian hands cash to a clerk.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FLYING PIG YOUTH HOSTEL - ROOM - NIGHT</stage_direction>
    <scene_description>Sebastian sits on one of the beds, on his laptop while Audrey looks on. Morgan, on another bed, channel-surfs on the tiny TV. On the tiny DESK, an assortment of GUNS is laid out.</scene_description>
    <character>AUDREY</character>
    <dialogue>...So you're telling me this drive gives us access to the entire Cloud? Everyone's private shit?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>The U.S. government has built a back door to access everything. Everyone's private emails, their finances... everyone's secrets. That's what Drew stole.</dialogue>
    <character>AUDREY</character>
    <dialogue>What does Highland want with that?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Imagine the power that comes from unlimited information. Blackmail, theft, they can take anything. Know anything. This is why people are --</dialogue>
    <character>MORGAN</character>
    <dialogue>Hey! You guys!</dialogue>
    <scene_description>On TV: CNN INTERNATIONAL NEWS. It's a story about AMERICAN GIRLS ARMED, DANGEROUS, AT LARGE. It's Audrey and Morgan.</scene_description>
    <character>CNN INTERNATIONAL ANCHOR</character>
    <dialogue>...Thought to be part of a bigger terrorist plot, the young women were said to be involved in a hack at the Apple Store in Prague...</dialogue>
    <scene_description>The girls stare, mesmerized...</scene_description>
    <character>CNN INTERNATIONAL ANCHOR</character>
    <dialogue>...and the murder of a local doctor, which may have had a sexual motive.</dialogue>
    <character>MORGAN</character>
    <dialogue>Ew. We would not have sexual motives with that guy. That's like, so insulting to us.</dialogue>
    <character>CNN INTERNATIONAL ANCHOR</character>
    <dialogue>Here are recent photographs of the suspects...</dialogue>
    <scene_description>ON THE TV: Morgan's photo is a glamorous headshot. Audrey's is a drunken, shiny bar photo. Baggy, stained sweatshirt.</scene_description>
    <character>AUDREY</character>
    <dialogue>Ugh, I keep trying to untag myself in that picture.</dialogue>
    <character>MORGAN</character>
    <dialogue>Was that from Halloween?</dialogue>
    <character>AUDREY</character>
    <dialogue>No.</dialogue>
    <character>MORGAN</character>
    <dialogue>Oh.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>It's cute!</dialogue>
    <character>AUDREY</character>
    <dialogue>It's really not.</dialogue>
    <character>MORGAN</character>
    <dialogue>Sebastian, back me up here. Doesn't Audrey look cute in that photo?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I'm busy.</dialogue>
    <character>MORGAN</character>
    <dialogue>What, you don't have one second to validate her? All you have to do is give a thumbs up or thumbs down!</dialogue>
    <character>CNN INTERNATIONAL ANCHOR</character>
    <dialogue>...The FBI has released transcripts of Facebook messages between the suspects about victim Drew Thayer, confirming their intent.</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh God. Morgan. Our chats...</dialogue>
    <character>CNN INTERNATIONAL ANCHOR</character>
    <dialogue>"I just wish he would die. Is that too much to ask? Just for someone to \[expletive\] murder him," said Audrey Stockman. Then, "Do you want me to murder him? I totally will. That's what friends are for. Music note emoji, music note emoji," replied Morgan Freedman.</dialogue>
    <scene_description>Sebastian finally looks up, amused.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Your name is Morgan Freedman?</dialogue>
    <character>MORGAN</character>
    <dialogue>It's Morgan Alexa Freedman on IMDB.</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh God. Morgan. Look.</dialogue>
    <scene_description>Onscreen - TESS BAKER-TONETTI: COLLEGE FRIEND OF SUSPECT.</scene_description>
    <character>TESS</character>
    <dialogue>...Honestly? I just don't believe Audrey would ever do this.</dialogue>
    <scene_description>Audrey is surprised and weirdly touched. Until...</scene_description>
    <character>TESS</character>
    <dialogue>She's just like, not that complicated of a thinker. I mean she's 27 years old and she doesn't even have a bed frame.</dialogue>
    <scene_description>Audrey shuts off the TV. She and Morgan cross to Sebastian.</scene_description>
    <character>MORGAN</character>
    <dialogue>So with this drive, if anyone had ever emailed or like iMessaged a naked picture to someone else...</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>This drive could access it.</dialogue>
    <character>AUDREY</character>
    <dialogue>Who did you send naked pictures to?</dialogue>
    <character>MORGAN</character>
    <dialogue>Don't worry about it.</dialogue>
    <character>AUDREY</character>
    <dialogue>I can find out. He just said I can find out.</dialogue>
    <scene_description>Audrey grabs the LAPTOP. Morgan smacks her hands away.</scene_description>
    <character>MORGAN</character>
    <dialogue>Or we could look at pictures of someone we actually want to see naked.</dialogue>
    <scene_description>The girls exchange a knowing look. Beat.</scene_description>
    <character>MORGAN</character>
    <dialogue>Anderson Cooper.</dialogue>
    <character>AUDREY</character>
    <dialogue>Amal Clooney.</dialogue>
    <scene_description>Morgan starts typing... Sebastian tries to wrestle the laptop back but she playfully holds it out of his reach.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Guys. This is not a joke...</dialogue>
    <scene_description>ONSCREEN -- A NAKED ANDERSON COOPER. Reverent silence.</scene_description>
    <character>MORGAN</character>
    <dialogue>God. Everything about that guy is chiseled.</dialogue>
    <character>AUDREY</character>
    <dialogue>Snow white carpet, snow white drapes.</dialogue>
    <character>MORGAN</character>
    <dialogue>Ooh, is that one from behind?</dialogue>
    <character>AUDREY</character>
    <dialogue>Anderson Cooper 360.</dialogue>
    <scene_description>Suddenly -- An ENORMOUS FINNISH BACKPACKER bursts into the room! ALL THREE OF THEM PANIC, SCRAMBLE FOR THEIR GUNS. Point it right at the backpacker... who is totally non-plussed.</scene_description>
    <character>ENORMOUS FINNISH BACKPACKER</character>
    <parenthetical>(thick accent)</parenthetical>
    <dialogue>Cool.</dialogue>
    <scene_description>He plops on one of the beds and immediately falls asleep.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FLYING PIG YOUTH HOSTEL BATHROOM - LATER</stage_direction>
    <scene_description>Audrey enters the communal bathroom to find Sebastian unwrapping a KID'S travel toothbrush. She does the same.</scene_description>
    <character>AUDREY</character>
    <dialogue>What'd you get? I got the blond girl from Frozen.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>That's Elsa. You can have my Olaf if you'd prefer.</dialogue>
    <parenthetical>(off her look)</parenthetical>
    <dialogue>I have nieces.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Who are quite weirded out that I saw Frozen in the theater three times by myself.</dialogue>
    <scene_description>Audrey laughs. They switch toothbrushes, brush their teeth.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>I hope you're not upset about what that girl said. On the news.</dialogue>
    <character>AUDREY</character>
    <dialogue>I mean, I'm not surprised she said that. I haven't really done anything that impressive with my life so far.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I've seen you do some pretty impressive things. You were a great shot in the cafe. You didn't break when you were tortured. You had the forethought to put that thing up your... thing. You're a natural at this.</dialogue>
    <character>AUDREY</character>
    <dialogue>You think so?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Absolutely.</dialogue>
    <character>AUDREY</character>
    <dialogue>Well, I'm impressed with you too. Not a lot of people would've cared about saving me. Including my ex.</dialogue>
    <scene_description>A moment.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Audrey. About that. I want to clear something up. You weren't just a cover for Drew. That much I know.</dialogue>
    <character>AUDREY</character>
    <dialogue>How?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I was... there the night you two met. At your birthday last year.</dialogue>
    <character>AUDREY</character>
    <dialogue>You were at Barcade?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Outside. In the surveillance van. Drew was actually there to take out a target.</dialogue>
    <character>AUDREY</character>
    <dialogue>Who?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>The bartender. He was in ISIS.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE - NIGHT(FLASHBACK)</stage_direction>
    <scene_description>A BARTENDER with a VERY LONG BEARD -- could be in Isis, could be in Iron & Wine -- hands DREW a drink at the bar.</scene_description>
    <character>ISIS BARTENDER</character>
    <dialogue>Craft Bourbon Cocktail with tobacco bitters and a rhubarb zest?</dialogue>
    <scene_description>We hear Sebastian in V.O. through Drew's earpiece.</scene_description>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Can you identify him as the target?</dialogue>
    <scene_description>Drew's leans back to get a better view, knocking into Audrey at the jukebox. He turns, sees her. Smiles. She's cute.</scene_description>
    <character>DREW</character>
    <dialogue>Sorry.</dialogue>
    <character>AUDREY</character>
    <dialogue>It's okay.</dialogue>
    <scene_description>From DREW'S SIDE NOW, we see Audrey turn around in her TIARA.</scene_description>
    <character>DREW</character>
    <dialogue>Oh. Happy birthday.</dialogue>
    <character>AUDREY</character>
    <dialogue>What?</dialogue>
    <parenthetical>(off tiara, deadpan)</parenthetical>
    <dialogue>Oh, this? It's not my birthday. I just wear this for warmth.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SURVEILLANCE VAN - NIGHT- (FLASHBACK)</stage_direction>
    <scene_description>Sebastian sits with TWO OTHER AGENTS, watching FOOTAGE of different areas of the bar. ONSCREEN, Drew and Audrey flirt.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Thayer. We do not have time for this.</dialogue>
    <parenthetical>(Drew ignores him)</parenthetical>
    <dialogue>Thayer. Show me you're listening to me.</dialogue>
    <parenthetical>(Drew keeps ignoring him)</parenthetical>
    <dialogue>Tell me this earpiece is still working. Or I'm coming in there.</dialogue>
    <scene_description>They start dancing. Drew subtly NODS over Audrey's shoulder.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>If you see me, why aren't you fucking moving?!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE - NIGHT- (FLASHBACK)</stage_direction>
    <scene_description>MORGAN approaches the dancing couple.</scene_description>
    <character>MORGAN</character>
    <dialogue>Okay, kids. The birthday girl's gonna turn into a pumpkin in a second. Let's get Del Taco.</dialogue>
    <scene_description>Audrey and Drew break apart. Morgan addresses Drew.</scene_description>
    <character>MORGAN</character>
    <dialogue>You're coming. You can bring your giant square chin with you.</dialogue>
    <character>AUDREY</character>
    <dialogue>No night is complete without a bad decision at Del Taco.</dialogue>
    <character>DREW</character>
    <dialogue>Actually... I can't.</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh. Okay.</dialogue>
    <scene_description>She's disappointed. Drew glances back at ISIS BARTENDER, now closing out the register. Preparing to leave...</scene_description>
    <character>DREW</character>
    <dialogue>I just, have a work thing.</dialogue>
    <character>AUDREY</character>
    <dialogue>At 2am?</dialogue>
    <character>DREW</character>
    <dialogue>Yeah, my job is weird.</dialogue>
    <scene_description>This sounds like bullshit.</scene_description>
    <character>AUDREY</character>
    <dialogue>Okay, well, nice meeting you, Drew.</dialogue>
    <scene_description>She turns to leave. ON DREW -- glancing from the BARTENDER retreating to the BATHROOM and AUDREY on her way out...</scene_description>
    <character>DREW</character>
    <dialogue>Wait.</dialogue>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Don't you dare give her your number. Do not give a witness at the bar where you're about to murder a man your phone number.</dialogue>
    <character>DREW</character>
    <parenthetical>(sotto)</parenthetical>
    <dialogue>Too late.</dialogue>
    <scene_description>Audrey turns.</scene_description>
    <character>AUDREY</character>
    <dialogue>Too late for what?</dialogue>
    <character>DREW</character>
    <dialogue>Nothing. Here. Take my number. Maybe we can hang out another time.</dialogue>
    <scene_description>Audrey lights up, hands him her phone. He punches in his number. Audrey leaves with Morgan. The second they're gone, Drew SPRINTS TOWARD THE BATHROOM.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SURVEILLANCE VAN - NIGHT- (FLASHBACK)</stage_direction>
    <scene_description>The agents watch as onscreen, in the BATHROOM -- ISIS BARTENDER is finishing up at the urinal. Drew walks in.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BARCADE BATHROOM - NIGHT- (FLASHBACK)</stage_direction>
    <scene_description>Drew, now steely-eyed, expertly moves toward him, grabs the back of his head -- shoves him hard right INTO THE FLUSHER HANDLE. We SMASH BACK TO --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSTEL BATHROOM - NIGHT- PRESENT DAY</stage_direction>
    <scene_description>Audrey and Sebastian, as before. Audrey is overwhelmed.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>My point is, being with someone -- caring about them -- makes our job harder. So if Drew was trying with you... that was real.</dialogue>
    <character>AUDREY</character>
    <dialogue>Until I got him killed.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>He got himself killed.</dialogue>
    <scene_description>A moment. Sebastian tries to lighten the mood.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>And not that you asked my opinion, but I would say the worst song on that jukebox is "Your Body is a Wonderland." No question.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(laughing)</parenthetical>
    <dialogue>No way dude! I lost my virginity to that song.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Wow. To who? The cheesiest person in the world?</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh, I'm sorry. Did you lose your virginity in a non-cheesy way, Fancy British Guy?</dialogue>
    <scene_description>Now Sebastian's laughing too. They're enjoying each other. Audrey turns to leave... then turns back.</scene_description>
    <character>AUDREY</character>
    <dialogue>Hey. Why didn't you let us die? Before.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I just thought you had value.</dialogue>
    <scene_description>We see this means a lot to Audrey. And clearly there's a mutual attraction. Another charged moment between them... Until THE ENORMOUS FINNISH BACKPACKER bursts in.</scene_description>
    <character>ENORMOUS FINNISH BACKPACKER</character>
    <dialogue>Rookworst, am I right?</dialogue>
    <scene_description>He slams into a stall. The SOUNDS of a really large man having really an explosive shit. And the moment is gone.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FLYING PIG YOUTH HOSTEL ROOM - NIGHT</stage_direction>
    <scene_description>Sebastian and Audrey are mid-conversation, laughing, as they walk back into the room.</scene_description>
    <character>AUDREY</character>
    <dialogue>There are a lot of Jim Morrison posters in Amsterdam. SEBASTIAN AUDREY</dialogue>
    <scene_description>God I hate the Doors. Fucking hate the Doors. They laugh. Then Sebastian suddenly stops. FREEZES.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Audrey.</dialogue>
    <scene_description>Audrey turns, GASPS-- Morgan is BOUND AND GAGGED in the middle of the room -- strapped to a CHAIR -- tied to the DESK.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh my God! Morgan, what--</dialogue>
    <character>A VOICE (O.S.)</character>
    <dialogue>She talks too much.</dialogue>
    <scene_description>It's PATEL. He emerges from behind the door -- GUN trained on them. Fuck. Sebastian acts lightning-quick, on instinct. He SWINGS at Patel with his unslinged arm -- but he's injured, weakened. Patel easily bats him away -- then shoves the muzzle of the PISTOL into Sebastian's shoulder -- into his RAW BULLET HOLE. Sebastian SCREAMS in pain.</scene_description>
    <character>AUDREY</character>
    <dialogue>Stop! Please! Don't! Stop it --</dialogue>
    <scene_description>Patel just pushes harder, harder. Sebastian WRITHES. Audrey STEPS FORWARD to intervene, but he whips the gun back to her.</scene_description>
    <character>PATEL</character>
    <dialogue>Hands! Up. Both of you.</dialogue>
    <parenthetical>(to Sebastian)</parenthetical>
    <dialogue>That's both hands, cripple.</dialogue>
    <scene_description>Audrey and Sebastian raise their arms. Sebastian winces -- he can't raise his injured arm very high. Patel notices, smirks.</scene_description>
    <character>PATEL</character>
    <dialogue>Higher.</dialogue>
    <scene_description>Sebastian tries. It's excruciating.</scene_description>
    <character>PATEL</character>
    <dialogue>...Just because I can.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>What is this, Patel? Revenge? I was already suspended. You won.</dialogue>
    <character>PATEL</character>
    <dialogue>I know I won. This isn't about you. Or them. I'm just here for this.</dialogue>
    <scene_description>Patel moves to the desk -- reaches over a whimpering Morgan -- slides the FLASH DRIVE from the computer.</scene_description>
    <character>PATEL</character>
    <dialogue>Of course, now I have a couple of loose ends to tie up.</dialogue>
    <scene_description>He retrains the GUN on Sebastian, point blank...</scene_description>
    <character>AUDREY</character>
    <dialogue>Wait! None of this is his fault, okay? It's mine. This was all me and Morgan. Just tell the CIA that.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Audrey, no...</dialogue>
    <parenthetical>(to Patel)</parenthetical>
    <dialogue>He's not here on CIA business. He's working for Highland.</dialogue>
    <character>PATEL</character>
    <dialogue>Please. Highland works for me. And you won't believe how much the Chinese Mafia is offering me for this thing. And the Russian Mafia. Multiple mafias.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>So this is all about money?</dialogue>
    <character>PATEL</character>
    <dialogue>Money, justice, whatever you want to call it. I personally think it's unjust that I risk death every day and sacrifice any shred of a personal life to make sixty five grand a year and wear a suit from Men's Wearhouse. And on that note, I'll just finish you all and be on my way. As much fun as it's been watching you kids play Tinker Tailor Stoner Spy.</dialogue>
    <scene_description>Patel waits for a reaction. Nothing. Audrey's incredulous.</scene_description>
    <character>AUDREY</character>
    <dialogue>What, were you hoping to get a laugh? You're about to kill us.</dialogue>
    <character>PATEL</character>
    <dialogue>I was on the Lampoon in college. Whatever. I'm funny. Doesn't matter. Cause one thing's mightier than the pen and it's called a fucking handgun. For heckling me, princess, you die first.</dialogue>
    <scene_description>Patel moves the gun to AUDREY'S TEMPLE... hand on the trigger... SQUEEZING. SQUEEZING. A tense final second, AND -- Patel GASPS and DROPS to the ground, DEAD! The ENORMOUS FINNISH BACKPACKER stands behind him. He leans down, pulls his BLOODY KNIFE from Patel's back.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Jesus!</dialogue>
    <character>AUDREY</character>
    <dialogue>Oh my God.</dialogue>
    <scene_description>Shell-shocked, Audrey rushes to Morgan and UNPEELS the tape. They hug, both messes of emotion.</scene_description>
    <character>MORGAN</character>
    <dialogue>Thank you. Oh my God, thank you.</dialogue>
    <character>ENORMOUS FINNISH BACKPACKER</character>
    <dialogue>This man was robbing us, yes?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Yes.</dialogue>
    <character>ENORMOUS FINNISH BACKPACKER</character>
    <dialogue>He might have stolen Angelika.</dialogue>
    <scene_description>He unzips his backpack. A GIANT YELLOW SNAKE SLITHERS OUT.</scene_description>
    <character>ENORMOUS FINNISH BACKPACKER</character>
    <dialogue>Just ignore her. She'll take herself for a walk.</dialogue>
    <scene_description>He climbs back into his bed, puts the knife down on the sill, closes his eyes. The snake slithers over Patel's dead body. Everyone is a little disgusted. But they don't dare complain after what he just did for them. Morgan turns to Sebastian.</scene_description>
    <character>MORGAN</character>
    <dialogue>So what now?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>First, we have to move this body.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FLYING PIG YOUTH HOSTEL - LOBBY - NIGHT</stage_direction>
    <scene_description>Morgan and Audrey carry a blanket-wrapped SOMETHING -- it's clearly a body -- through the lobby. Sebastian in tow. There are just a couple of people there. They're all suspicious.</scene_description>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Just act like everything we're doing is normal and no one will question it. People only suspect you when you look like you're trying to hide something. Smile. Make eye contact. Say hi.</dialogue>
    <scene_description>Morgan and Audrey take the note too far, smiling and saying hello to EVERY PERSON they pass. A SLEAZY GUY by the desk smiles back at Morgan. Gives her a little nod - 'Sup girl.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AMSTERDAM STREET - NIGHT</stage_direction>
    <scene_description>Sebastian hot-wires a BLACK SEDAN as Audrey and Morgan ease Patel's body into the trunk.</scene_description>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>We need a clean car. Then we need to get out of the city.</dialogue>
  </scene>
  <scene>
    <stage_direction>I/E. BLACK SEDAN - NIGHT</stage_direction>
    <scene_description>Audrey drives. Sebastian's shotgun. Morgan in the back.</scene_description>
    <character>AUDREY</character>
    <dialogue>How did he find us?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>We took every precaution. We used cash. No phones --</dialogue>
    <scene_description>Then Audrey realizes something. Turns back to Morgan. Morgan quickly looks out the window. Audrey realizes.</scene_description>
    <character>AUDREY</character>
    <dialogue>Morgan, did you call your parents?!</dialogue>
    <character>MORGAN</character>
    <dialogue>I'm sorry! I just had to tell them I was okay! I thought maybe my dad found out about Roger and I didn't want them to think I was dead so I got a burner phone at the gift shop and just said hey I'm fine -- real fast -- then I threw it in a dumpster! Like on The Wire! I thought you couldn't track a call if it was less than two minutes!</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>That's not a thing anymore.</dialogue>
    <character>MORGAN</character>
    <dialogue>I realize that now.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Morgan. Listen to me. You cannot do any more shit like that. You put all of our lives in jeopardy.</dialogue>
    <character>MORGAN</character>
    <dialogue>I'm sorry! But it's not like I'm the only one of us who fucked up.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Who else fucked up?</dialogue>
    <character>MORGAN</character>
    <dialogue>You left the drive in the computer?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Just for a second! You were in the room! Where else would I put it?!</dialogue>
    <character>MORGAN</character>
    <dialogue>What's wrong with your ass?!</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>My ass? I couldn't have done that with my arm like this! I wouldn't have been able to get the angle.</dialogue>
    <character>AUDREY</character>
    <dialogue>You could have asked one of us to help you insert it. I was in the bathroom with you.</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah. I'm sure Audrey would have loved to put something up your ass! I'm sure she still would.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(reddening)</parenthetical>
    <dialogue>Not in a sexual way. Just like, for the sake of mankind.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. NDSM WHARF, OUTSIDE AMSTERDAM - NIGHT</stage_direction>
    <scene_description>An abandoned industrial area by the waterfront under the cover of night. The girls fill Patel's pockets with ROCKS. The girls lower Patel into the water. As body slowly sinks, a CELL PHONE BUZZES. PATEL's. It's coming from under the blanket. It's on him. The girls freeze, set the body down.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>We need to check who he's texting.</dialogue>
    <scene_description>Audrey takes a breath, and wades into the water. His dead face stares back at her. She winces, reaches into his jacket, removes the phone before it gets wet. Slides to unlock it.</scene_description>
    <character>AUDREY</character>
    <dialogue>The phone needs his thumbprint.</dialogue>
    <character>MORGAN</character>
    <dialogue>Well... there's his thumb.</dialogue>
    <scene_description>Audrey grabs Patel's dead arm. She presses thumb to button. The phone unlocks. There's a TEXT from an unknown number: "Text me when you get the package."</scene_description>
    <character>AUDREY</character>
    <dialogue>What do I say back? Who is he texting with?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Let's find out. Tell them we have it and ask them where the drop is.</dialogue>
    <scene_description>She writes back. A moment, then another BUZZ. "Bring it to Operation Albrecht."</scene_description>
    <character>AUDREY</character>
    <dialogue>What's "Operation Albrecht"?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Let's check his emails.</dialogue>
    <scene_description>Sebastian pulls the DRIVE and laptop from his bag. Inserts the drive, kneels on the dirty ground, laptop on his knee... ONSCREEN -- PATEL'S EMAILS. He searches "Albrecht."</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>He's been emailing with someone named "Hunter Pierce."</dialogue>
    <character>MORGAN</character>
    <dialogue>Okay, so, a gay porn star.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>"Operation Albrecht" appears to be Highland's first planned assassination. They don't name the target, but it's going down tomorrow night. There's a gala at the Museum of German Technology in Berlin. Text back and tell him you'll be there with the drive.</dialogue>
    <character>AUDREY</character>
    <dialogue>Shit. It locked again.</dialogue>
    <scene_description>Audrey uses Patel's thumb again, replies. Meanwhile--</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Wow, Patel has a lot of pictures of his mom on here.</dialogue>
    <scene_description>ON THE SCREEN -- Photos of PATEL and an OLDER WOMAN. Then one where they're BOTH NAKED AND MAKING OUT.</scene_description>
    <character>MORGAN</character>
    <dialogue>Ahh. Not his mom! Not his mom!</dialogue>
    <character>AUDREY</character>
    <dialogue>Wait!</dialogue>
    <parenthetical>(urgent)</parenthetical>
    <dialogue>That person's gonna keeps texting. We'll need his thumb.</dialogue>
    <scene_description>They all exchange looks. There's just one option and Audrey is already in the water. She grabs a BEER BOTTLE from the shore and SMASHES IT on a rock. Holding the JAGGED GLASS, she returns the cold water, over to Patel's body, nearly under. CLOSE on his hand as it sinks. Audrey grabs it -- uses the glass as a BLADE, CUTS PATEL'S THUMB OFF. Not much blood. She holds up the thumb to her cohorts in victory. It's disgusting, but we see Audrey is also weirdly proud of herself. She really is a natural at this.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BERLIN - DAY</stage_direction>
    <scene_description>The sun rises over Berlin.</scene_description>
    <character>BERLIN, GERMANY</character>
    <dialogue>SEBASTIAN (V.O.)</dialogue>
    <scene_description>Here's the plan. The guest list for the gala includes the Canadian ambassador and his wife. Audrey, you and I will pose as them.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TEGEL AIRPORT, BERLIN - CUSTOMS - DAY</stage_direction>
    <scene_description>Passengers deplane, hug family, pick up their bags.</scene_description>
    <character>AUDREY (V.O.)</character>
    <dialogue>Won't people know what they look like?</dialogue>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>No. No one ever remembers what Canadians look like... They land at Tegel Airport at 2pm.</dialogue>
    <scene_description>At BAGGAGE CLAIM -- a GENERICALLY HANDSOME MAN and his PLAIN BLOND WIFE walk briskly towards... A SIGN with their NAMES on it: "AMBASSADOR AND MRS. MULLICAY." Pan up-- The DRIVER HOLDING IT is MORGAN. In a hat and everything.</scene_description>
    <character>MORGAN (V.O.)</character>
    <dialogue>Can I do an accent?</dialogue>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>You don't need to.</dialogue>
    <character>MORGAN (V.O.)</character>
    <dialogue>Nah, I'm gonna do an accent. I know what I'm gonna do. "To really inhabit a character, you must speak with their tongue." Stanislavsky.</dialogue>
    <scene_description>She takes the couple's carry-ons. In a THICK COCKNEY ACCENT:</scene_description>
    <character>MORGAN</character>
    <dialogue>'ELLO. Funny coincidence -- you two is from London, Ontario and me, I'm from Jolly Old London! England.</dialogue>
    <scene_description>The Canadians are taken aback.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TEGEL AIRPORT - PARKING GARAGE ROOF - DAY</stage_direction>
    <scene_description>Morgan leads them to a LIMO in a corner of the EMPTY roof. It wasn't necessary to park this far. The Canadians exchange glances but don't say anything because they're Canadian.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. LIMO - MOMENTS LATER</stage_direction>
    <scene_description>Morgan turns on the engine and opens the sunroof... AUDREY -- suddenly on TOP OF THE CAR -- sticks her head down into it! The Canadians SCREAM. Morgan feigns SHOCK too.</scene_description>
    <character>MORGAN</character>
    <dialogue>Oh my! Rascal! Ruffian! Begone!</dialogue>
    <scene_description>Audrey shoots the couple with TRANQ DARTS. They pass out.</scene_description>
    <character>AUDREY</character>
    <dialogue>Have a nice nap, guys. Sorry you'll miss the party.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. GERMAN REST STOP BATHROOM - DAY</stage_direction>
    <scene_description>A dingy public bathroom. Audrey DYES HER HAIR BLOND in the sink to MATCH THE CANADIAN WOMAN'S. Morgan dyes her hair RED.</scene_description>
    <character>AUDREY</character>
    <dialogue>Do I look like her?</dialogue>
    <character>MORGAN</character>
    <dialogue>Yeah. Do I look awesome?</dialogue>
    <character>AUDREY</character>
    <dialogue>You look cute.</dialogue>
    <character>MORGAN</character>
    <dialogue>I just feel like for our friendship, we should be changing our looks at the same time. You to a Canadian Ambassador's wife and me to a young Julianne Moore.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. DEUTSCHES TECHNIKMUSEUM BERLIN - NIGHT</stage_direction>
    <scene_description>A stunning modern glass-walled building with a GOLDEN PLANE on top. Fancy couples walk up a RED CARPET to the GRAND ENTRANCE, manned by SECURITY. From behind, we follow a MAN in a TUXEDO, and a BLOND WOMAN in a RED SATIN DRESS and HEELS. We move around them... It's Sebastian and Audrey. They look amazing. Throughout this sequence, Sebastian, Audrey and Morgan will be able to hear each other on earpieces.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Morgan, are you in position?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. DEUTSCHES TECHNIKMUSEUM BERLIN - BACK DOOR - INTERCUT</stage_direction>
    <scene_description>Morgan is dressed in a LAVENDER UNITARD. Acrobats in matching unitards stretch and warm up. Morgan stretches with them.</scene_description>
    <character>MORGAN</character>
    <dialogue>I was born in position.</dialogue>
    <character>AUDREY</character>
    <dialogue>Everyone was born in position. That's why they call it "the fetal position."</dialogue>
    <character>MORGAN</character>
    <dialogue>Oh, I just put that together. But yes. I'm psyched about this. Performing with Cirque de Soleil is like, a top three dream. I was a C.I.T. in Acrobatics and Clowning at camp. It was competitive.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Once again, Morgan, you are not performing with the troupe. Your job is to stay backstage and watch the surveillance. We have to locate the assassin.</dialogue>
    <character>MORGAN</character>
    <dialogue>What about just for one song?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>No.</dialogue>
    <scene_description>Morgan longingly eyes a LITHE MAN doing a warm-up back flip.</scene_description>
    <character>MORGAN</character>
    <dialogue>This is like taking a thoroughbred to the Kentucky Derby and telling him, "you have to stand here and watch the Kentucky Derby, Horse."</dialogue>
    <scene_description>Sebastian addresses the Marines in a PERFECT CANADIAN ACCENT.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Evening! Honey, you have our passports?</dialogue>
    <scene_description>Audrey proffers the Canadians' passports. The Marine surveys them. Looks back to Sebastian and Audrey. A tense moment. Then he waves them through. As they enter the party...</scene_description>
    <character>AUDREY</character>
    <dialogue>That was a perfect Canadian accent.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I watch a lot of Degrassi.</dialogue>
    <character>AUDREY</character>
    <dialogue>Really?!</dialogue>
    <character>SEBASTIAN</character>
    <parenthetical>(dumb bro accent)</parenthetical>
    <dialogue>Naw -- it's my training, dumbass.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>That was my LA accent.</dialogue>
    <character>AUDREY</character>
    <dialogue>Shut it.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>You look good as a blond, by the way. And are you wearing lipstick?</dialogue>
    <scene_description>Hearing this, MORGAN smiles as she mans --</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, BACKSTAGE - NIGHT</stage_direction>
    <scene_description>-- a bank of SECURITY SCREENS. Guests move around the party.</scene_description>
    <character>MORGAN</character>
    <dialogue>What am I watching for exactly?</dialogue>
    <character>SEBASTIAN (V.O.)</character>
    <dialogue>Anyone you've seen before. Or anyone who looks suspicious.</dialogue>
    <scene_description>But Morgan can't help but glance longingly at the unitard- clad Cirque de Soleil performers as they frolic past the curtains to a STAGE set up in the ATRIUM.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, LOCOMOTIVE ROOM - SAME</stage_direction>
    <scene_description>A vast room of German TRAIN CARS from various eras. Sebastian and Audrey hold hands as they move through the crowd.</scene_description>
    <character>AUDREY</character>
    <dialogue>What constitutes suspicious?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Use your instincts.</dialogue>
    <character>AUDREY</character>
    <dialogue>I have great instincts. If I'm attracted to them, they're probably gonna get us killed.</dialogue>
    <character>SEBASTIAN</character>
    <parenthetical>(deadpan)</parenthetical>
    <dialogue>So, that guy might kill us?</dialogue>
    <scene_description>Sebastian points to a cheesy BRAZILIAN DIPLOMAT with a ponytail, in a white tux.</scene_description>
    <character>AUDREY</character>
    <dialogue>Actually, my high school boyfriend Craig looked like that.</dialogue>
    <character>AUDREY</character>
    <dialogue>Interests included: Family Guy and finger-banging. Usually at the same time.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>My girlfriend at Uni kinda looked like her.</dialogue>
    <scene_description>He points to a TINY VIETNAMESE WOMAN.</scene_description>
    <character>AUDREY</character>
    <dialogue>I had that phase in college too.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, BACKSTAGE - INTERCUT</stage_direction>
    <scene_description>Morgan's eyes widen, seeing someone head towards the stage.</scene_description>
    <character>MORGAN</character>
    <dialogue>Hey. I see someone very suspicious.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Okay. Stay calm. Describe him.</dialogue>
    <scene_description>REVEAL the man Morgan was talking about as she describes him.</scene_description>
    <character>MORGAN</character>
    <dialogue>He has a long twirly mustache. Big pointy scary eyebrows. He's holding... yeah, he's holding a bag with a big dollar sign on it.</dialogue>
    <scene_description>Sebastian and Audrey glance at the stage. The MUSTACHE MAN is clearly the bad guy in the Cirque de Soleil show.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>I think that guy's part of the show.</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah, I don't know that an actual bad guy would look like an evil Mr. Monopoly.</dialogue>
    <character>MORGAN</character>
    <dialogue>I'm gonna go with my gut on this.</dialogue>
    <scene_description>Morgan joins the acrobats heading for the stage. She keeps her eyes on Mustache Man as she climbs THE TRAPEZE. The man is miming and twirling his mustache. As Morgan gets to the top... he opens his DOLLAR SIGN BAG and CONFETTI pours out on to the crowd.</scene_description>
    <character>MORGAN</character>
    <dialogue>Wait. You know what? I think you might be right.</dialogue>
    <scene_description>AUDREY notices a COUPLE across the room. She grabs Sebastian.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh my God.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>What?</dialogue>
    <character>AUDREY</character>
    <dialogue>Tom and Marsha. Or whatever the fuck their names are. Drew's fake parents. They're the assassins.</dialogue>
    <scene_description>Sure enough, "Tom and "Marsha" -- also dressed FORMALLY, blending in -- stand at the bar. Glam outfits. Finally looking like the chameleonic agents they really are. "Marsha" spots them. She taps "Tom." The couples stare at each other for an intense moment across the room... Just as a group of people passes between them. When the sea opens up again, "Tom" and "Marsha" are gone.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Morgan, get down. I've been blown.</dialogue>
    <scene_description>Morgan LAUGHS.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>This isn't funny.</dialogue>
    <character>MORGAN</character>
    <dialogue>Oh God, I know. I know.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>But you just said "I've been blown."</dialogue>
    <scene_description>She laughs again. Sebastian shakes his head.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Okay, both of you. Stay together and in plain sight until I get back.</dialogue>
    <parenthetical>(then, to Audrey)</parenthetical>
    <dialogue>You put the drive somewhere safe?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yes. Very safe.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Is it in... the same place as last time?</dialogue>
    <character>AUDREY</character>
    <dialogue>You'll have to find out.</dialogue>
    <scene_description>She flinches. That came out way too forward. Audrey stammers.</scene_description>
    <character>AUDREY</character>
    <dialogue>I mean, not "you'll see" as in... I just meant I'll tell you later... Whatever, just go!</dialogue>
    <scene_description>As Sebastian hurries off, also blushing a little.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAPEZE - SAME</stage_direction>
    <scene_description>Morgan turns to descend the ladder when she sees someone across the way, on the opposite acrobat landing. NADEDJA. Face bandaged but wearing a unitard like it was made for her. Morgan mutters to herself:</scene_description>
    <character>MORGAN</character>
    <dialogue>Oh my God. That girl.</dialogue>
    <scene_description>A MALE ACROBAT behind her pipes up, also staring at Nadedja.</scene_description>
    <character>MALE ACROBAT</character>
    <dialogue>I know. Butterface, right?</dialogue>
    <scene_description>Nadedja sees them. Morgan grabs the trapeze. It's going down.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, HALLWAY - NIGHT</stage_direction>
    <scene_description>Sebastian hurries to the edge of the ballroom -- a big DOOR into a BACK HALLWAY... manned by a SECURITY GUARD. Sebastian thinks fast -- pretends not to see the guard as he pulls a pack of CIGARETTES from his jacket, tries to hurry past.</scene_description>
    <character>SECURITY GUARD</character>
    <dialogue>Rauchen verboten! No smoking! Sir!</dialogue>
    <scene_description>But Sebastian's on the other side of him now. He plays DUMB, steps back. The guard follows. Now they're behind the door.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Sorry. Filthy habit, I know.</dialogue>
    <parenthetical>(conspiratorially)</parenthetical>
    <dialogue>Want one?</dialogue>
    <character>SECURITY GUARD</character>
    <dialogue>Sir, I don't smoke.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Me neither. Me neither.</dialogue>
    <scene_description>Sebastian TOUCHES THE UNLIT CIGARETTE to the guard's neck. BZZZZZT. It's a TASER. The guard attempts to GRAB SEBASTIAN as he falls... knocking out Sebastian's EAR PIECE.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>Shit.</dialogue>
    <scene_description>He scans the floor but can't find it in the shadowy darkness. Fuck it. He has to move. Sebastian hurries down the hallway.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, LOCOMOTIVE ROOM - NIGHT</stage_direction>
    <scene_description>Back in the crowded ballroom. Audrey stands alone in the CROWD. PATEL'S PHONE VIBRATES in her hand. A new text: "In position. Where are you?"</scene_description>
    <character>AUDREY</character>
    <dialogue>Sebastian? They just texted me... Sebastian?</dialogue>
    <scene_description>Silence. Audrey starts to get nervous.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, AVIATION ROOM - SAME</stage_direction>
    <scene_description>Sebastian enters a dark room full of imposing GERMAN PLANES. He looks around. No one in sight. THUNK! A PROPELLER comes out of nowhere and KNOCKS HIM from behind. Sebastian collapses, passed out.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN - SAME</stage_direction>
    <scene_description>Audrey stares at the phone. Still no response. Tries again.</scene_description>
    <character>AUDREY</character>
    <dialogue>Sebastian, what's going on?</dialogue>
    <scene_description>Audrey inhales. She's gonna have to do this herself. She subtly reaches into her bag and pulls out her TUBE OF LIPSTICK. Takes the cap off... twists it. PATEL'S THUMB SPIRALS UP. Audrey shudders a little as she uses it unlock the phone. Sends a text. She texts: "I don't see you" She gets another text: "Ships Room" Audrey takes a deep breath. As she crosses to the EXIT, she STUMBLES over the FALLEN GUARD. Beside him, Sebastian's "CIGARETTES." Audrey picks them up, hurries down the hall. PRE-LAP loud CHEERING...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ATRIUM, TRAPEZE - SAME</stage_direction>
    <scene_description>THE CROWD GOES WILD as "Butterface" guy does an impressive back-flip. On the landing... CLOSE ON MORGAN. She's next. Morgan's entire life has been building to this moment. Morgan jumps from the landing, SWINGING a HUNDRED FEET IN THE AIR! NADEDJA does the same, swinging from the other side. CRASH! The women meet in the middle. NADEDJA deals the first blow -- KICKING MORGAN in the stomach. Morgan SWINGS BACK, sticks her FEET OUT, CAREENS back into Nadedja. Knocks her back. The crowd CHEERS, unaware this is for real. Loving it. Despite that it's life or death, Morgan is exhilarated too.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHIPS ROOM - NIGHT</stage_direction>
    <scene_description>Audrey enters a ROOM of CENTURIES-OLD SHIPS. She steps to the middle of room. Silence. Then -- She sees a SHADOW moving. Audrey freezes. The figure keeps moving toward her. And finally emerges into the light... IT'S DREW. HOLY SHIT. IT'S FUCKING DREW!</scene_description>
    <character>AUDREY</character>
    <dialogue>What the fuck?</dialogue>
    <character>DREW</character>
    <dialogue>Oh my God! Audrey!</dialogue>
    <scene_description>He seems overjoyed to see her. Audrey's mind is blown.</scene_description>
    <character>AUDREY</character>
    <dialogue>So wait, you're not... ?</dialogue>
    <character>DREW</character>
    <dialogue>Dead? Yeah. That was a surprise to me too, after what happened.</dialogue>
    <character>AUDREY</character>
    <dialogue>But I saw you get shot. You were bleeding. You were dead. I thought. You weren't dead?</dialogue>
    <character>DREW</character>
    <dialogue>I was right on the edge. But the bullets missed my vital organs. I woke up in a military hospital.</dialogue>
    <character>AUDREY</character>
    <dialogue>But on the news... Morgan and I are like, wanted for your murder.</dialogue>
    <character>DREW</character>
    <dialogue>You're not. That's how the CIA's been trying to find you. They lie. But they don't want to hurt you. They're trying to keep you alive. That's why I'm here. To save you.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>And stop Henshaw.</dialogue>
    <character>AUDREY</character>
    <dialogue>Sebastian? He's been helping us.</dialogue>
    <character>DREW</character>
    <dialogue>Audrey, have you heard of Highland?</dialogue>
    <character>AUDREY</character>
    <dialogue>Yeah...</dialogue>
    <character>DREW</character>
    <dialogue>That's who Sebastian's working for. He's the assassin.</dialogue>
    <character>AUDREY</character>
    <dialogue>So who's the target?</dialogue>
    <character>DREW</character>
    <dialogue>Me. I am. He's been using you to get to me. And it worked.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(wait? what?)</parenthetical>
    <dialogue>That doesn't make sense. Sebastian knows I thought you were dead. And I saw Patel try to kill him. And Patel admitted he worked with Highland. And I've been texting with the assassin with Sebastian right next to me, so how --</dialogue>
    <character>DREW</character>
    <dialogue>Hey. Can we like, stop with the questions for a second? I'm just... I almost died a few days ago. I thought I would never see you again. Can I just give you a hug?</dialogue>
    <scene_description>But when he steps toward her, Audrey reflexively steps back.</scene_description>
    <character>DREW</character>
    <dialogue>Audrey...</dialogue>
    <character>AUDREY</character>
    <dialogue>Sorry. I'm just on edge. People have been trying to kill me all week. I know that's like, all in a day's work for you but I work at Trader Joe's...</dialogue>
    <character>DREW</character>
    <dialogue>You must have been so scared. Ugh, the thought of anyone trying to hurt you...</dialogue>
    <scene_description>Audrey flinches. This triggers something for her.</scene_description>
    <character>AUDREY</character>
    <dialogue>You hurt me, Drew. A lot.</dialogue>
    <character>DREW</character>
    <dialogue>I know I did. And I'm so sorry...</dialogue>
    <character>AUDREY</character>
    <dialogue>You lied to me about everything. You let me think I was meeting your parents and they weren't your parents.</dialogue>
    <character>DREW</character>
    <dialogue>They're the people I've been hiding from. When they found me in LA, I knew my cover was blown. And it was just easier to... make something up... I knew if I told you the truth, it would lead to questions I couldn't answer.</dialogue>
    <character>AUDREY</character>
    <dialogue>Is that why you broke up with me by text message? Because it was too hard to tell me the truth? You said you loved me. Was that a lie too?</dialogue>
    <character>DREW</character>
    <dialogue>No! I did love you. I do love you. Even more now that we can finally be honest with each other.</dialogue>
    <scene_description>This is everything Audrey was waiting for. Especially when--</scene_description>
    <character>DREW</character>
    <parenthetical>(playful)</parenthetical>
    <dialogue>Audrey Stockman, I love you as much as I hate that fucking Crash Test Dummies song.</dialogue>
    <scene_description>Audrey smiles. Letting her guard down a little. Playing back:</scene_description>
    <character>AUDREY</character>
    <dialogue>Which Crash Test Dummies song are you referring to, Drew? Cause there are so many. I don't remember any one in particular.</dialogue>
    <character>DREW</character>
    <dialogue>Shut up.</dialogue>
    <character>AUDREY</character>
    <dialogue>No really, I'm gonna need you to jog my memory. Cause I have all their albums and there are just, a lot of tracks. And bonus tracks.</dialogue>
    <character>DREW</character>
    <dialogue>I hate you. I know I just said I love you but I also hate you.</dialogue>
    <character>AUDREY</character>
    <dialogue>If you could maybe just sing a couple bars. How does it go?</dialogue>
    <scene_description>Drew shakes his head. He knows what he has to do. And then, in a deep bass-baritone, Drew starts SERENADING AUDREY.</scene_description>
    <character>DREW</character>
    <dialogue>Once, there was this girl who...</dialogue>
    <scene_description>Off Audrey -- a captive audience in spite of herself.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ATRIUM, TRAPEZE - SAME</stage_direction>
    <scene_description>Morgan struggles to hang on to the TRAPEZE with one hand as-- NADEDJA swings across... SLAMS both her feet into the arm that's holding on. Morgan's FINGERS slip... but she regains her balance, tightens her fist. Reaches up with the other hand, steadies herself, swings back towards waiting Nadedja -- Morgan KICKS Nadedja at full force. It just makes Nadedja mad. From behind her unitard, Nadedja PULLS a GUN. The crowd keeps cheering. Assuming it's part of the show. Until... Nadedja FIRES -- Morgan LETS GO OF THE TRAPEZE -- sails through the air, just missing the BULLET. It HITS an ACROBAT on the far platform. The Acrobat falls backward, DEAD. He hits the floor, at the crowd's feet. SLAM. The crowd is stunned. As they realize what's really going on-- MORGAN SAILS onto NADEDJA'S TRAPEZE... landing on top of Nadedja -- her legs wrapped around Nadedja's NECK. NADEDJA TIPS backwards under the weight... just as MORGAN manages to GRAB the TRAPEZE by the tips of her fingers. Nadedja flails, tries to get a grip. But Morgan blocks her. NADEDJA FALLS, FALLS, FALLS -- SLAM. She hits the FLOOR from a hundred feet, at the crowd's feet. People are now fully SCREAMING. NADEDJA is finally DEAD. Morgan SWINGS safely above, watching from her perch. Catching her breath. Holy fucking shit.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN, SHIPS ROOM - SAME</stage_direction>
    <scene_description>Drew is now standing close to Audrey. Leaning against an old ship just like they leaned against that jukebox at Barcade.</scene_description>
    <character>DREW</character>
    <dialogue>...When I woke up in that hospital and I didn't know where you were, or if you were even alive...</dialogue>
    <character>AUDREY</character>
    <dialogue>I know. I know. When that guy shot you... it was so fucking horrible.</dialogue>
    <scene_description>Audrey chokes back tears a little. The adrenaline she's been running on for days giving way to the raw emotion she'd tamped down. She tries to fight it but Drew's not blind.</scene_description>
    <character>DREW</character>
    <dialogue>Hey. Kiddo.</dialogue>
    <scene_description>The term of endearment just makes Audrey more emotional. Drew puts his arm around her and holds her close. Audrey tentatively lets him. In his arms, she relaxes. She's been wanting this for months. They embrace for a moment. Then...</scene_description>
    <character>DREW</character>
    <dialogue>Ooh, what's this?</dialogue>
    <scene_description>Drew pulls the TASER CIGARETTES sticking out of her purse.</scene_description>
    <character>DREW</character>
    <dialogue>You got some spy gadgets?</dialogue>
    <character>AUDREY</character>
    <dialogue>Shut up.</dialogue>
    <character>DREW</character>
    <dialogue>What else you got here, Jane Bond?</dialogue>
    <scene_description>He tosses the cigarettes aside and gently takes Audrey's bag off her shoulder. Starts rifling through.</scene_description>
    <character>DREW</character>
    <dialogue>When'd you start wearing lipstick?</dialogue>
    <character>AUDREY</character>
    <dialogue>Uh, I wouldn't open that.</dialogue>
    <scene_description>He does anyway. Finds Patel's THUMB.</scene_description>
    <character>DREW</character>
    <dialogue>Wow. A thousand guesses and I never would have landed on thumb.</dialogue>
    <scene_description>Audrey laughs as Drew returns to the purse. Rifles quicker now -- less playful. Audrey gets a weird feeling.</scene_description>
    <character>AUDREY</character>
    <dialogue>Hey. The drive isn't in there.</dialogue>
    <character>DREW</character>
    <dialogue>What? No! Audrey...</dialogue>
    <scene_description>He stops rummaging. Puts a hand on Audrey's shoulder.</scene_description>
    <character>DREW</character>
    <parenthetical>(too fast, less genuine)</parenthetical>
    <dialogue>We're in this together! We just have to get out of here. Trust me. We can go anywhere you want. You pick. China? You love Chinese food. Can you imagine what they can do with a breakfast burrito over there with those moo shu pancakes?</dialogue>
    <character>AUDREY</character>
    <dialogue>You said not to trust anyone.</dialogue>
    <scene_description>They lock eyes for a second.</scene_description>
    <character>DREW</character>
    <dialogue>Touché.</dialogue>
    <scene_description>Then the DOOR OPENS. "TOM" and "MARSHA" drag in a CUFFED, GROGGY SEBASTIAN.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh my God! Sebastian...</dialogue>
    <scene_description>Audrey rushes toward him.</scene_description>
    <character>DREW</character>
    <dialogue>Audrey. He's with them.</dialogue>
    <character>"MARSHA"</character>
    <dialogue>Oh look! We're all together again. Just like the Cheesecake Factory.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Fuck, you hit me hard. I'm hallucinating.</dialogue>
    <character>AUDREY</character>
    <dialogue>No, it's Drew. He's still alive.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Audrey... get away from him. Now. He's gonna kill all of us.</dialogue>
    <character>AUDREY</character>
    <dialogue>Funny, he just said the same thing about you.</dialogue>
    <scene_description>We can see Audrey really doesn't know who to trust.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DEUTSCHES TECHNIKMUSEUM BERLIN HALLWAY - NIGHT</stage_direction>
    <scene_description>Morgan rushes down the hall, frantically looking for Sebastian and Audrey.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHIPS ROOM - NIGHT</stage_direction>
    <scene_description>The others, as before. "Tom" turns to Drew impatiently.</scene_description>
    <character>"TOM"</character>
    <dialogue>All right, Thayer, we gave him a full check. Drive's not on him. Can we remove the target now?</dialogue>
    <character>AUDREY</character>
    <parenthetical>(to Drew)</parenthetical>
    <dialogue>Wait, you said you were the target. You said you're Operation Albrecht.</dialogue>
    <scene_description>"Marsha" points her gun at Audrey's head. Audrey is TERRIFIED. Then DREW pulls out a GUN as well... Audrey screams... But he doesn't shoot her. He SHOOTS MARSHA. BAM. "TOM" LUNGES for the door but Drew gets him too. BAM. "Tom" falls back, on to an ANCIENT ANCHOR. It IMPALES HIS HEAD. Brain matter everywhere. Audrey shakes, tries not to wretch.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh my god...</dialogue>
    <character>DREW</character>
    <dialogue>It's okay, Audrey. I'm right here. No one else matters right now.</dialogue>
    <scene_description>He turns the gun on SEBASTIAN.</scene_description>
    <character>AUDREY</character>
    <dialogue>Drew, don't!</dialogue>
    <character>SEBASTIAN</character>
    <parenthetical>(calmly)</parenthetical>
    <dialogue>Audrey, listen to me. Drew has been working with Patel.</dialogue>
    <character>DREW</character>
    <dialogue>Sebastian was working with Patel.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Audrey, you saw Patel try to kill me yesterday. He's the one who sent that assassin after you in Belgium. Drew was gonna let that happen. He would have let you die.</dialogue>
    <character>DREW</character>
    <dialogue>Sebastian sent the assassin to Belgium.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Okay. Everything I say you did, you can't just say I did.</dialogue>
    <character>DREW</character>
    <dialogue>I can do whatever I want! I'm the one with the gun.</dialogue>
    <scene_description>He turns to Audrey. Meanwhile, Audrey notices MORGAN slip into the room. No one else sees her... Morgan spots DREW. SHOCKING. But she stops herself from making any noise. The girls share a meaningful look. Morgan tiptoes into the SHIP beside Drew.</scene_description>
    <character>DREW</character>
    <dialogue>That night we met... changed my life. I was driving by that bar and I saw you. Walking. And I was like, wherever that girl's going, that's where I want to be.</dialogue>
    <character>AUDREY</character>
    <dialogue>So that's why you went into Barcade? Because you saw me?</dialogue>
    <character>DREW</character>
    <dialogue>I would have followed you anywhere. There was just something magnetic. I know this is cheesy but it felt like Kismet. It felt like fate.</dialogue>
    <character>AUDREY</character>
    <dialogue>Really? Cause I thought we were being totally honest with each other. You went to Barcade to assassinate the bartender.</dialogue>
    <scene_description>And suddenly, Audrey puts it all together.</scene_description>
    <character>AUDREY</character>
    <dialogue>Wait. Hunter Pierce, from those emails. That was Ryan Phillippe's character in that terrible "Marked Target" movie you made me watch. And "Albrecht". That's Theo Albrecht. Founder of Trader Joe's. You came here to assassinate... me.</dialogue>
    <scene_description>SIRENS approach outside. Drew SNAPS.</scene_description>
    <character>DREW</character>
    <dialogue>Oh my God, I forgot how fucking annoying you are. Fuck this shit.</dialogue>
    <scene_description>Drew SHOOTS SEBASTIAN, who falls backwards. Audrey tries to move to him but Drew is now pointing the gun at her.</scene_description>
    <character>DREW</character>
    <dialogue>Where's the fucking drive?</dialogue>
    <character>AUDREY</character>
    <dialogue>I'll tell you, okay? But there's one thing you need to know first. Morgan likes to set things on fire.</dialogue>
    <character>DREW</character>
    <dialogue>What are you talking about?</dialogue>
    <character>AUDREY</character>
    <dialogue>Morgan likes to set things on fire.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SHIP - SAME</stage_direction>
    <scene_description>Morgan crouches behind a SMALL SHIP'S CANNON, aiming it at Drew. She uses the CIGARETTE TASER he tossed aside to LIGHT THE FUSE. Amazingly, it WORKS. BAM!</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHIPS ROOM - SAME</stage_direction>
    <scene_description>A CANNONBALL sails from the ANCIENT CANNON across the room... NOWHERE NEAR DREW. It arcs through the air -- CRASHES through the glass window. SMASH! It lands on a parked car outside. A CAR ALARM sounds. Bystanders yell -- what the fuck? Drew turns to Audrey, his charming smile now condescending.</scene_description>
    <character>DREW</character>
    <dialogue>Nice shot. Great plan, Audrey.</dialogue>
    <scene_description>He aims his gun at Audrey's head.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHIP - SAME</stage_direction>
    <scene_description>Panicking, she picks up a SOFTBALL-SIZED CANNONBALL -- heavy as hell. But she flings it with every bit of her strength.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHIPS ROOM - CONTINUOUS</stage_direction>
    <scene_description>The CANNONBALL CONKS Drew on the head. HARD. He weaves. He falls. He drops his gun -- Audrey scrambles for the gun. As does Drew. As she gets closer he reaches for her leg. She FALLS. Drew pulls her as Audrey reaches and stretches for the gun. She kicks -- gets him a few times in the face -- but Drew holds on. She... GRABS it just as -- Drew gets up and LEAPS on top of her. They struggle -- Audrey points her gun at Drew but doesn't shoot as Drew pulls the gun from her by the barrel. Then BAM. She SHOOTS. There's a big bloody GAPING HOLE in his hand. She stands and aims at the now fallen Drew.</scene_description>
    <character>DREW</character>
    <dialogue>Bitch! You blew my fucking hand off!</dialogue>
    <scene_description>Morgan runs to Audrey from the ship as Drew continues wailing.</scene_description>
    <character>MORGAN</character>
    <dialogue>Jesus, how are you still alive?</dialogue>
    <character>DREW</character>
    <dialogue>Fuck you. I never liked you.</dialogue>
    <character>MORGAN</character>
    <dialogue>Feeling's mutual, dick.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(to Drew)</parenthetical>
    <dialogue>She tried to tell me you were full of shit. Should've listened.</dialogue>
    <scene_description>SIREN LIGHTS flash from right outside. The COPS are coming. Sounds of COMMOTION as POLICE descend on the building. Audrey stays still and strong, gun steady, trained on Drew.</scene_description>
    <character>DREW</character>
    <dialogue>You're running out of time. Kill me. That's what I would do.</dialogue>
    <character>AUDREY</character>
    <dialogue>I'm sure it is. But I'm a better person than you. You revealed your true self. This is mine.</dialogue>
    <scene_description>The GERMAN POLICE burst in! Audrey calmly puts the gun down and nods to them. Take him. As the Polizei circle Drew, they try to cuff him but can only manage his non-destroyed hand.</scene_description>
    <character>AUDREY</character>
    <dialogue>To quote a text message I got once: "Hey there -- it's over. Sorry."</dialogue>
    <scene_description>Another OFFICER HELPS SEBASTIAN TO HIS FEET. He's okay -- he was wearing a BULLET PROOF VEST. Audrey rushes up.</scene_description>
    <character>AUDREY</character>
    <dialogue>What?! I didn't know you had bullet- proof vests!</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>I just had the one.</dialogue>
    <character>AUDREY</character>
    <dialogue>You know, I would've felt a little more comfortable if I also had a bullet-proof vest. So much for you protecting me.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>You protected yourself.</dialogue>
    <scene_description>Audrey smiles. He's right, on a number of levels.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DEUTSCHES TECHNIKMUSEUM BERLIN - NIGHT</stage_direction>
    <scene_description>Chaos. The place is SURROUNDED by POLICE CARS. The POLIZEI haul Drew into one just as Sebastian and Audrey step outside.</scene_description>
    <character>SECURITY GUARD</character>
    <dialogue>Ambassador? Ma'am? Do you need an ambulance?</dialogue>
    <character>AUDREY</character>
    <parenthetical>(demure, Canadian)</parenthetical>
    <dialogue>Oh no. We're fine, thanks. We just have to leave... emergency back home... our hockey team is sick.</dialogue>
    <scene_description>Morgan runs out after them. As she passes the guard:</scene_description>
    <character>MORGAN</character>
    <dialogue>Cirque de Soleil is also from Canada. So I know them.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. LANDWEHR CANAL - NIGHT</stage_direction>
    <scene_description>Our heroes walk down the gorgeous riverside BIKE PATH, away from the FUCKING CHAOS behind them.</scene_description>
    <character>MORGAN</character>
    <dialogue>Sebastian... can I see your phone?</dialogue>
    <scene_description>He hands it over. Morgan dials as they walk.</scene_description>
    <character>MORGAN</character>
    <dialogue>Mom! Get Dad! Yeah, I know, I'm calling from this international spy's phone... Sebastian Henshaw.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Can you not reveal my identity?</dialogue>
    <character>AUDREY</character>
    <dialogue>She tells them everything. She's not allowed to lie.</dialogue>
    <character>MORGAN</character>
    <dialogue>Now I don't have to.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <character>MORGAN</character>
    <dialogue>Guess what, guys?! I just went to a museum.</dialogue>
    <scene_description>BEEP. Call waiting.</scene_description>
    <character>MORGAN</character>
    <dialogue>Ugh. Hang on a second.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CIA PARIS STATION, WENDY'S OFFICE - NIGHT - INTERCUT</stage_direction>
    <scene_description>Wendy sits at her desk, on the phone.</scene_description>
    <character>WENDY</character>
    <dialogue>Nice job, Henshaw. We found the correspondence between Thayer, Patel and Highland... I'm sorry I questioned your loyalty.</dialogue>
    <scene_description>Behind her, Wendy's ADORABLE SON (6) hands her a cute drawing.</scene_description>
    <character>WENDY</character>
    <dialogue>What's this supposed to be? A dog? A cat? It looks like a piece of shit.</dialogue>
    <parenthetical>(then, into phone)</parenthetical>
    <dialogue>Destroy that drive. Then come in.</dialogue>
    <character>MORGAN</character>
    <dialogue>I'll give him the message. I'm just kinda on the other line right now.</dialogue>
    <scene_description>Morgan hangs up on Wendy. Wendy stares at the phone. That was a first. Morgan Sebastian.</scene_description>
    <character>MORGAN</character>
    <dialogue>CIA lady said destroy the drive.</dialogue>
    <parenthetical>(then, to her parents)</parenthetical>
    <dialogue>Okay, and what did the Doctor say about your cholesterol?</dialogue>
    <scene_description>On Sebastian and Audrey --</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>So Drew didn't get the drive.</dialogue>
    <character>AUDREY</character>
    <dialogue>You said put it somewhere safe.</dialogue>
    <parenthetical>(then)</parenthetical>
    <dialogue>Morgan, give me the thing.</dialogue>
    <scene_description>Morgan, still on the phone, fishes the drive from her CLEAVAGE. Hands it to Audrey. Then Morgan notices a MAN coming her way, carrying flowers. EDWARD SNOWDEN.</scene_description>
    <character>MORGAN</character>
    <dialogue>The fuck... I'll call you back.</dialogue>
    <parenthetical>(hanging up)</parenthetical>
    <dialogue>Eddie... how'd you know I was here?</dialogue>
    <character>EDWARD SNOWDEN</character>
    <dialogue>I know everything that has happened and everything that's going to happen.</dialogue>
    <parenthetical>(then, flirty)</parenthetical>
    <dialogue>Want to know what's gonna happen right now?</dialogue>
    <character>MORGAN</character>
    <dialogue>Uh, sure.</dialogue>
    <scene_description>Edward Snowden produces two THEATER TICKETS from his pocket.</scene_description>
    <character>EDWARD SNOWDEN</character>
    <dialogue>You're coming with me to see Guys and Dolls at the Admiralspalast. Then a bottle of ice-cold Riesling. And then maybe we can repeat what happened last time after we saw Guys and Dolls together at camp.</dialogue>
    <character>MORGAN</character>
    <dialogue>...Or another idea is we can just go see Guys and Dolls as friends.</dialogue>
    <character>EDWARD SNOWDEN</character>
    <dialogue>Should've known that was gonna happen.</dialogue>
    <scene_description>BACK ON AUDREY and SEBASTIAN. Staring at the drive.</scene_description>
    <character>SEBASTIAN</character>
    <dialogue>You can do the honors.</dialogue>
    <scene_description>Audrey smiles. Then SNAPS THE DRIVE IN HALF. She hurls the pieces OFF THE BRIDGE.</scene_description>
    <character>AUDREY</character>
    <dialogue>Can't they just make another one?</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>It's their software. They can make these whenever they want. That's where the world is headed anyway. Total transparency. Everyone wants to know everything.</dialogue>
    <character>AUDREY</character>
    <parenthetical>(shrugging)</parenthetical>
    <dialogue>I still think it's better to give people the chance to show you who they are. On their own terms.</dialogue>
    <character>SEBASTIAN</character>
    <dialogue>Safe to say you've done that.</dialogue>
    <scene_description>A sweet, intimate silence... Then Audrey and Sebastian finally KISS. We leave them in peace, pulling out to the Berlin night...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SILVER LAKE TRADER JOE'S - DAY</stage_direction>
    <scene_description>Audrey's back at the register, still with her BLOND HAIR. And there's another big difference: she looks HAPPY to be here as she rings up a customer. The next customer steps up... TESS.</scene_description>
    <character>TESS</character>
    <dialogue>Oh my God, Audrey! Your blond hair is so fun!</dialogue>
    <parenthetical>(then, pitying)</parenthetical>
    <dialogue>I didn't know you still worked here.</dialogue>
    <character>AUDREY</character>
    <dialogue>Hey Tess! Yeah, you know, I realized this job is actually perfect for me. It's easy, it's not too stressful, I can save my energy for my real passions. And you can't beat the flexibility.</dialogue>
    <scene_description>Tess is taken aback. Audrey's CELL BUZZES with a TEXT.</scene_description>
    <character>AUDREY</character>
    <dialogue>Speaking of which, they need me in the supply room! God I love when I have to get supplies.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TRADER JOE'S SUPPLY ROOM - DAY</stage_direction>
    <scene_description>Audrey works quickly -- stealthily removes a CINDER BLOCK from the wall -- pulls out a FAKE PASSPORT, FOREIGN MONEY, etc. As skilled as Drew was at this.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRADER JOE'S PARKING LOT - DAY</stage_direction>
    <scene_description>Audrey moves fast toward the corner of the lot where the SAME BLACK VAN she was interrogated in is parked. This time, Audrey confidently slides the door open and dives in without hesitation. The van glides away.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SHIBUYA, TOKYO - LATE NIGHT</stage_direction>
    <scene_description>The unmistakable neon hub of Tokyo's popular nightlife area. As we move to a side street, push into a dark BASEMENT CLUB--</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SHIBUYA KARAOKE CLUB - NIGHT</stage_direction>
    <scene_description>Dimly lit except for garish flashing neon lights. We follow-- AUDREY -- now in a stunning GOLD COCKTAIL DRESS -- as she confidently winds through a packed, intoxicated crowd. Approaches an expressionless CLERK at a HOST STAND.</scene_description>
    <character>CLERK</character>
    <parenthetical>(Japanese)</parenthetical>
    <dialogue>Reservation?</dialogue>
    <scene_description>Audrey's about to give her name when the sound of GLASS SHATTERING cuts the air. The clerk -- and everyone else -- turns, distracted by the DRUNK COUPLE who just knocked over a huge stack of glasses... It's MORGAN. With a Japanese BUSINESSMAN. Making a huge scene. Seemingly oblivious to Audrey.</scene_description>
    <character>MORGAN</character>
    <parenthetical>(to the Businessman)</parenthetical>
    <dialogue>Oh my God Akira you're a mess!</dialogue>
    <parenthetical>(to the bartenders)</parenthetical>
    <dialogue>Barkeep! Two more Yakuzas please! Or wait, whatever this whiskey is called. Yakuza is the thing you're in, right? Oh wait, shit, was that a secret?</dialogue>
    <scene_description>Unattended now, Audrey subtly REACHES BEHIND THE HOST STAND and presses a button. A DOOR behind the stand clicks. Unlocked. Audrey heads for it, when--</scene_description>
    <character>MAN (O.S.)</character>
    <dialogue>Miss? Excuse me! Miss!</dialogue>
    <scene_description>This stops Audrey dead. She slowly turns... It's SEBASTIAN. At the bar behind her. Holding out a GOLD PURSE that matches Audrey's dress.</scene_description>
    <character>AUDREY</character>
    <dialogue>Oh! Silly me. Must have dropped that.</dialogue>
    <scene_description>They share a private, knowing, look, then she keeps moving.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY - MOMENTS LATER</stage_direction>
    <scene_description>...Audrey removes a GUN from the purse as she strides down the hall, solo. Drops the purse in the trash as she arrives -- At the end of the hall. Another door. Inside, muffled voices conspire, up to no good. Audrey takes a deep breath. As she cocks the gun and kicks the door open, we -- SMASH TO BLACK.:</scene_description>
    <character>THE END</character>
  </scene>
</script>

Summary: In Los Angeles, cashier Audrey Stockman spends her birthday upset after her boyfriend Drew dumps her. Her best friend and roommate, Morgan Freeman, convinces her to burn his things and texts him beforehand as a warning. Audrey has no idea Drew is a government agent being pursued by men trying to kill him. He promises to return and asks her to not torch anything in the meantime. At work, Audrey flirts with a man who asks her to walk him to his car. Forced into a van, the man identifies himself as Sebastian Henshaw. He reveals that Drew works for the Central Intelligence Agency (CIA) and has gone missing. Audrey claims not to have heard from him and is let go. Drew shows up for his possessions, including a fantasy football trophy. People begin shooting at them and he tells Audrey that, if he dies, she must go to a certain café in Vienna and give the trophy to his contact. Drew is then shot by a man Morgan had taken home from a bar, whom she then pushes off the balcony. Morgan convinces Audrey to go to Vienna. At the café, Sebastian appears and demands the trophy at gunpoint. Audrey reluctantly hands it over before the entire café is attacked. The friends flee, chased by men on motorcycles. Audrey reveals that she still has Drew's trophy as she had switched it with one of several decoys they purchased. Boarding a train to Prague, they discover the trophy contains a USB. Morgan calls her parents, who tell her they can stay in Prague with family friend Roger. Audrey and Morgan get to the apartment, but discover "Roger" is actually a spy who drugged them and killed the real Roger. Morgan tries to swallow the flash drive. After that fails, Audrey tells their captors that she flushed it down the toilet. The ladies wake up in an abandoned gymnastics training facility, about to be tortured by Nadejda, a Russian gymnast, model, and assassin trained by the older couple who had previously masqueraded as Drew's parents. Audrey and Morgan are rescued by Sebastian, who defied orders to save them. He brings them to his boss in Paris, where they once again tell the CIA and MI6 that the drive was flushed. The women are given tickets back to America, and Sebastian is suspended. Driving back to the airport, Sebastian explains that Drew's "parents" are actually notorious criminals; Drew was discreetly negotiating with them to sell the USB, and Audrey was part of his cover. Audrey confesses that she hid the drive in her vagina. When Sebastian cannot decrypt the information, Morgan calls Edward Snowden for assistance, and he helps them hack it. The trio travel to a hostel in Amsterdam, where they are attacked by Sebastian's CIA partner Duffer, who plans to sell the drive himself. They are rescued by their hostel roommate, who thinks they are being robbed and body slams Duffer to his death. Audrey answers Duffer's phone when it rings and agrees to sell the drive at a private party in Berlin. To get into the party, Audrey and Sebastian go as the Canadian ambassador and his wife, while Morgan joins the Cirque du Soleil crew. Sebastian is attacked and Morgan is confronted by Nadejda on an acrobat swing, eventually kill her Meanwhile, Audrey meets her mysterious contact and finds Drew, who is still alive and searches through her purse for the USB. Sebastian arrives, held hostage by Drew's "parents". After a standoff, Drew's "parents" are shot, leaving Sebastian and Drew, who accuse each other of trying to hurt Audrey. Drew then shoots Sebastian, and Audrey pretends to be glad before grabbing his gun. When he tries to attack her, she kicks him in the groin. Once he is on the ground, Morgan throws a cannonball at him. Drew is arrested, and Audrey, Morgan, and Sebastian escape. Sebastian later gives Morgan his untraceable phone to let her parents know she is alive. As she's talking, Sebastian's boss calls to lift his suspension. Morgan begs her for a job as a spy. Meanwhile, Sebastian and Audrey kiss. A year later, while celebrating Audrey's birthday in Tokyo, her party is revealed to be a ruse, as it's actually an assignment with Sebastian to stop a group of Japanese Yakuza gangsters.