Evolve Pilot - Part Two

CONTINUED

ACT THREE



FADE IN:

INT. CLASSROOM - DAY

Most of the STUDENTS have already arrived. The room is a rowdy mess of chatter and horseplay.

The CAMERA focuses on a FOURSOME in a back corner including a GIRL (MAGGIE) and THREE GUYS (ZACK, LARRY and STEVE), all roughly Genevieve‘s age, give or take. They are in the middle of a mildly heated debate.

ZACK
Dude, there’s no way!

LARRY
Yeah, dude. It’s totally stupid.

MAGGIE
Dudes, I told you, quit callin’
me dude!

ZACK
Dude, whatever Maggie, chill.

Steve just watches SILENTLY with an amused expression.

GENEVIEVE enters the room, Larry immediately spots her.

LARRY
(as she approaches)
Hey Gen.

GENEVIEVE
(arrives at table)
Hey guys.

Zack turns to face her.

ZACK
Dude, Genny, help me out here.

GENEVIEVE
Zack, what did I tell you about
the whole “dude” thing?

Zack remembers, and looks away.

ZACK
Sorry, Gen.

MAGGIE
(takes offense)
Hey!

ZACK
(to Maggie)
Chill, dude.

MAGGIE
Jerk.

Zack ignores the comment, his attention already back on Genevieve.

ZACK
Gen, you wanna tell Mag-tard
that there’s no freakin’ way
she’s getting to First Mission
before me.

MAGGIE
(while Zack speaks)
Dude, call me Mag-tard one more
time.
(after he speaks)
I’m totally beating you to First
Mission.

ZACK
Whatever.

MAGGIE
Whatever yourself.

GENEVIEVE
Whatever you both! I’m going to
First Mission before both you
Mag-tards!

MAGGIE
(upset)
Hey!

LARRY
(giggles)
Cool, it’s a thing now.

ZACK
Wait, you’re goin’ on First
Mission?

GENEVIEVE
How’s that taste?

Steve seems impressed, still doesn’t feel like joining the conversation.

LARRY
That’s awesome!

MAGGIE
(very excited)
Where you going? Anywhere fancy?

GENEVIEVE
Nel Lusso.

MAGGIE
(much less excited)
Oh. Have fun.

LARRY
You goin’ after those creeps that
shot up that village?

GENEVIEVE
Looks like.

Steve eyes her, he knows something she doesn’t.

ZACK
Wow, that’s so cool. Man, I can’t
wait to go on First Mission.

TEACHER
(O.S.)
Eyes front class.

The TEACHER (30’S) walks into the room, her strong, confident strides accentuated by her sophisticated beauty. Her eyes demand respect, unwilling to put up with any nonsense.

Every student falls in line immediately, silently sitting in their seats, backs straight, eyes forward.

TEACHER
(makes her way to
desk)
Today we will begin our chapter on
Theoretical Weapons Design. This
course is highly vital to your
success in the field, as you will
likely find yourself out of
ammunition, or without a weapon
altogether.

ZACK
(to Larry, as the
Teacher speaks)
Dude, dude, after class you wanna
go down to the Trestles?
(Teacher finishes)
I was thinkin’ we could -

He’s CUT OFF when a RULER hits his desk, sticking like a javelin. Zack snaps around to face front, eyes wide open.

ZACK
Sorry!

Teacher gives him a nasty GLARE for a brief moment before continuing.

TEACHER
As you can see, anything can be
turned into a weapon given the
proper ingenuity.

Genevieve grins.
CUT TO:




INT. ACADEMY HALLS - DAY

The hall is empty, until a RINGING BELL floods it with STUDENTS, all in ACADEMY UNIFORMS. They each head off in their own separate directions, creating unorganized madness in the hall.

Along with her friends, Genevieve exits one of the rooms.

ZACK
So ya going to the party at
Skiff’s tonight?

GENENVIEVE
Are you kidding? First Mission
starts at five!

She separates, walking down a different hallway than the rest of her group.

LARRY
(amused)
Look at her, all proud of herself.
What a loser!

ZACK
Have fun tomorrow.

MAGGIE
Yeah, good luck with the shooting,
and not dying and stuff.

CUT TO:



EXT. ACADEMY COURTYARD - DAY

Genevieve walks with her backpack over one shoulder, casually making her way across campus.

TRACK BACK, we’re looking through the window of one of the classrooms on the third floor.

Actually, SOMEONE in a LAB COAT is looking through the window.

A PHONE RINGS in his pocket. He pulls it out and puts it to his ear, but the CAMERA refuses to move away from his nice, white LAB COAT.

SCIENTIST
Yeah?
(pauses for response)
Oh my God, are you really calling
me again about this?
(another pause)
Look, I told you guys two hours
ago, I’m working on it. I’ll let
you know when I know for sure.

CUT TO:

INT. AN EMPTY, NONDESCRIPT OFFICE - DAY

The MAN with the SHINY, BALD HEAD has his phone to his ear. He’s dressed to the nines, very James Bondish.

MAN
Just see that you do.

He hangs up, slipping the phone into his jacket pocket.


FROM BEHIND

we can see a tattoo on the left side of his neck, the ANCIENT RUNE PERTHRO.

He looks over to his right, to ANOTHER MAN in a SLICK, BLACK SUIT with the SAME TATTOO on the right side of his neck. FACIALLY, the men are IDENTICAL, however the one on the right has SHAGGY HAIR with bangs that hang down to his chin.

MAN ON LEFT
Can you believe this guy?

MAN ON RIGHT
Some people, man. Should we take
care of him?

MAN ON LEFT
Nah, let him bring us the girl
first. We can kill him later.

The man on the right smiles, the prospect of murder delightful.

MAN ON RIGHT
Can’t wait.

WHITE FLASH.

CUT TO:


EXT. ON A ROOFTOP - DAY

High above the city streets, THE MAN IN AN OVERCOAT watches the people below.

WHITE FLASH.


CLOSE ON Man's eyes.

WHITE FLASH.
CUT TO:


INT. GRANDMA’S LIVING ROOM - DAY

CLOSE ON

a sad clown porcelain statue. The clown is looking down, and the camera PANS to follow his gaze.

On the shelf below, a small ceramic cat cleans her kitten with her tongue.

To their left, a Civil War Soldier looks out over the living room.


WIDEN TO REVEAL

the house is packed with trinkets, relics, and various other tacky pieces of crap.

The front door OPENS, and an exhausted GENEVIEVE walks into the room, now dressed in her street clothes, very dark, gothic outfit.

She drops her backpack, which lands on the floor at the feet of a porcelain Dalmatian.

She crosses the room, past the creepy marionette dressed like a Venetian gondola driver.

GRANDMA
(O.S.)
Remember, Helen. They had the
most delicious scones there.

Genevieve walks to the kitchen where GRANDMA, dressed in a fluffy pink bathrobe and gorilla slippers, sits alone at the table, a tea party for four all set up.

GRANDMA
(to “Helen”)
Oh yes, that waiter was a cutie.
(leaning in closer
to “Helen”)
You know, I pinched his butt
one time.

She starts giggling like a little school girl.

Genevieve watches from the doorway, smiling but saddened by her Grandma’s dementia.

GENEVIEVE
Hey Grandma.

GRANDMA
Hi sweetie! You remember the
girls?

Genevieve turns to face the table, trying to mask the pain she feels watching the last of her family slowly slip away.

GENEVIEVE
(playing along)
Hi ladies. Staying out of
trouble I hope.

Grandma seems to be listening to her friends’ response, then starts laughing.

GRANDMA
Oh, Gertrude, you’re terrible!

She continues laughing, and in her mind all the ladies are laughing too.

Genevieve smiles, but it’s a fake smile.

GENEVIEVE
Okay, well, I’ve got homework. You
ladies behave.

She makes her way to the stairway.

GRANDMA
All right honey. We’re having
corn dogs for dinner.

Genevieve gets to the stairs and starts up them, her fake smile fading away.

GENEVIEVE
Okay Grandma.

GRANDMA
She’s such a good girl. She’s
going to be a zookeeper. Just
like her father.

Those words bring tears to Genevieve’s eyes.

She reaches the top of the stairs and goes into a room.

CUT TO:

INT. GENEVIEVE'S BEDROOM - DAY

CLOSE on Genevieve's face, her eyes look a million miles away, and full of grief.

(the following scene is a very turbulent, psychotic montage set to music. The song must have slow and fast moments. The video will sync with the music as beats change)

At intro of song, there will be a gentle melody, but there will be harsh, abrasive moments where the scene will shift to her mind, where she is freaking out.

The shots will rotate from:

GENTLE MUSIC: Genevieve is staring into her mirror with a forlorn look in her eyes.

HARSH MUSIC: Genevieve is freaking out, throwing things around the room.

GENTLE MUSIC: She unzips the top of her outfit (remember she's only sixteen, so keep it classy)

HARSH MUSIC : More freaking out, punching the mirror, shattering the glass.

MAIN BODY OF SONG: (make sure to insert flashes of the previous shots as needed)


INT. GRANDMA’S HOUSE - THE PAST

We are in a MEMORY now, everything is SEEN in a GRAINY, 1960’s home movie style.

Her FATHER WAVES from the front door, smiling warmly.

Genevieve sits on her Grandma’s stairs, now only FIVE YEARS OLD, pouting. She refuses to wave back.

Her Father stands in the doorway, along with his lovely wife, and Grandma, a few years younger and a whole lot saner.

Genevieve continues her guilt trip, looking away.

Her Father turns his attention back to Grandma.

He kisses her on the cheek, his wife looks back at her daughter.

Mother waves.

Genevieve looks at her, still being a snotty little brat.

Her mother blows her a KISS anyway.

Father leads her out the door, but her Mother can’t take her eyes off of the sad, little girl.

The song hits a BREAKDOWN, a long, melodic moment, as we come back to the present.

Genevieve's mirror; along with Genevieve's reflection, there is an old NEWSPAPER CLIPPING.


THE HEADLINE

“TERRORIST GROUP CLAIMS RESPONSIBILITY IN RESERVOIR TRAGEDY”

CLOSE ON GENEVIEVE'S CHEST, just above her left breast. A RAZOR cuts a vertical line down her chest.

THE PICTURE

A BRIDGE, badly damaged. Twisted metal and crumbled concrete, HUNDREDS OF CARS in the water below. If you look close enough, you can even see the BODIES floating.

In BLACK MARKER, someone has drawn a symbol over the picture.

The ANCIENT RUNE PERTHRO

The RAZOR cuts a second line, leading down, diagonally from the top of the first.

Genevieve is freaking out, throws a lamp against the wall.

BACK ON THE PICTURE, closer.

Back to fetal position.

The RAZOR cuts a third line, leading up, diagonally from the bottom of the first.

Blood drips onto the floor.

Genevieve freaks out, and with both hands pounds on the mirror, blood pouring from her sliced up hands.

Genevieve stares at the clipping, the tears don’t come from sad eyes. Her eyes are fierce, angry, determined.

On her chest, we see a large scar in the shape of the ANCIENT RUNE "EIWAZ", the same symbol worn on the uniforms of all Academy members.


BACK TO THE PICTURE

to the RUNIC SYMBOL "PERTHRO" drawn on it.


BACK TO GENEVIEVE

who is now lying on the floor, in the fetal position, trembling.

FADE TO BLACK.


INT. GRANDMA’S KITCHEN - THE NEXT MORNING

FADE IN:

Genevieve comes down the stairs.

IN THE KITCHEN

Grandma and the girls are now in the middle of a heated card game.

GRANDMA
(very excited)
Read em’ and weep girls!

Grandma smirks as she lays down her hand, a random assortment of low cards and the instructions for Crazy Eights. She laughs proudly as she rakes in the pile of pretzels and peanuts on the table.

Genevieve enters during Grandma’s celebration.

GENEVIEVE
You’re on fire tonight, Grandma.

Genevieve bends down and kisses her on the top of her pink haired head.

Grandma beams with pride as she deals the next hand.

Much to her disappointment, she deals herself four aces and the Joker.

Disgusted with her crappy luck, she tosses the cards face down onto the table.

GRANDMA
(pouting)
Oh, pooh. I fold.

GENEVIEVE
I gotta get to school.

Genevieve heads toward the front door.

GRANDMA
Fine, go, you’re bad luck!

Grandma waves to her, not taking her eyes from the game, watching her imaginary friends battle it out without her.

GENEVIEVE
Love you Grandma.

GRANDMA
Love you too, honey.

CUT TO:



EXT. OUTSIDE MILITIA COMPOUND - MORNING

Genevieve is dressed in Academy combat gear, walking along a dirt path that runs along a ridge.

Off in the distance lies the run-down MILITIA COMPOUND, which is little more than a bunch of BEAT UP PICKUP TRUCKS and about a DOZEN RAGGED TENTS.

Ahead of her is the REST OF HER TEAM, which has split into two groups; STEVE (the quiet guy from her group), BRIAN and WILL, a group of teens around Genevieve‘s age, -

And ZETCH and AMY, UPPERCLASSMEN with major SUPERIORITY COMPLEXES.

ZETCH
Look at these losers.

AMY
Worse than last year.

The group of Cadets doesn’t hear them, they are off to the side having their own conversation.

WILL
It’s not a question of power,
it’s pure physics.

BRIAN
Yes, but without the proper
amount of power, the physics
won’t work.

Steve watches, nothing to say.

WILL
(flabbergasted)
Won’t work? Won’t work? How the
Hell can physics not work?

BRIAN
Momentum requires propulsion,
Will. Without the right amount
of force, the physics are
completely null.

Genevieve walks up behind Steve.

GENEVIEVE
What are the brainiacs talking
about?

Steve looks back, grins.

STEVE
Hey, Gen.
(back on others)
I don’t know, something’ about
turtles, sounds kinda messed up.

Genevieve looks CONCERNED.

ZETCH
(O.S.)
Well, well, well.

Zetch and Amy approach the group.

ZETCH
Look who finally made it.

AMY
If it isn’t the Director’s pet.

The Cadets fall in line, eyes forward.

The upperclassmen keep their eyes locked on Genevieve.

ZETCH
Glad you can join us.

GENEVIEVE
Glad to be here, sir.

Zetch glares at her, trying to intimidate her.

Her eyes remain forward, refusing to even glance his way.

After a moment, he gives up and moves on with the debriefing.

ZETCH
We’ll be walking right into the
heart of enemy territory. There
will be heavy gunfire, and
casualties are imminent.

AMY
Our job is to keep those
casualties on their side of
the fence.

ZETCH
So try not to die. You’ll make us
look bad. Understood?

ALL CADETS
Yes sir.

The upperclassmen look at the Cadets, DOUBTFUL.

CUT TO:


INT. ALEC’S LAB - CONTINUOUS

ALEC is in his lab, busily getting things ready. He FLIPS a switch, and TURNS ON A MONITOR.

You can HEAR the machines come to life.

The monitor slowly comes on, and on the screen is the BACK OF STEVE’S HEAD, as well as a few more Cadets in front of him. This is GENEVIEVE’S POV as she follows the team toward the Compound.

ALEC
All right, Genny. Time to show
‘em what you got.

ON THE MONITOR OF GENEVIEVE’S POV

CUT TO:


EXT. OUTSIDE MILITIA COMPOUND - CONTINUOUS

Genevieve and her team walk toward the Compound.

Most of them appear to be calm, except for Brian, who is noticeably NERVOUS. His eyes are wide, and he is SWEATING.

CUT TO:



INT. DR. ANDERSON’S LAB - CONTINUOUS

DR. ANDERSON watches his screen, Brian‘s POV on his MONITOR.

ANDERSON
(to himself)
Calm down, Brian. Gotta keep that
pulse steady.

Anderson reaches over and adjusts a knob.

ANDERSON
(to himself)
There you go buddy. How’s that?

CUT TO:


EXT. OUTSIDE MILITIA COMPOUND - CONTINUOUS

As Brian walks, he gets a CHILL, and his nervous expression completely disappears, making way for a much more CONFIDENT one.

The team gathers behind a hillside.

Zetch is looking through binoculars; The Compound less than a HUNDRED YARDS away.

CUT TO:


INT. DR. MARSHALL’S LAB - CONTINUOUS

DR. MARSHALL sits at her extremely organized desk, ZETCH‘S POV showing on her MONITOR; you can even tell he‘s looking through binoculars.

She puts on a HEADSET.

MARSHALL
Are we ready yet?

WATSON
(over headset)
Just about in position.

CUT TO:



INT. DR. WATSON’S LAB - CONTINUOUS

Dr. Watson slides his chair across the floor, where he flips a switch on a small, electronic box. He is also wearing a HEADSET.

WATSON
All right, good to go.

His MONITOR displays AMY’S POV.

CUT TO:


EXT. MILITIA COMOUND - CONTINUOUS

Amy looks around at her team as they make their final preparations.

ZETCH
(quietly to team)
This is it, don’t bitch out now.

AMY
Everybody loaded?

While the rest of her teammates are checking their RIFLES, Genevieve is UNARMED.

AMY
(to Genevieve)
Cadet, where’s your weapon?

GENEVIEVE
(shrugs)
Back at camp, I guess.

Amy approaches her, angry, unable to comprehend.

AMY
Back at camp?

GENEVIEVE
I guess. I didn’t bring one.

AMY
You wanna tell me why the Hell
not?

GENEVIEVE
I don’t know. Not a big fan of
guns.

AMY
So what? Just gonna run in there,
swinging your fists?

GENEVIEVE
Yeah, that’s right.

Amy glares at her, outraged.

ZETCH
(to Amy)
There’s the order. Let’s move!

Amy shakes her head, then pulls a HANDGUN from a holster strapped to her thigh.

AMY
Don’t lose it.

Amy hands the gun to Genevieve before rushing away.

Genevieve looks down at the GUN as if it were a cheap child’s toy, then shakes her head.


ON THE GROUND

The GUN hits the dirt as Genevieve runs off, heading in a DIFFERENT DIRECTION than the rest of her team.


FADE OUT:




END OF ACT THREE





ACT FOUR



FADE IN:


INT. AN ABANDONED HOUSE - DAY

LOUD PUNK MUSIC can be heard from somewhere in the house.

After SEVERAL EST. SHOTS of what is obviously a squatter’s den, we eventually find TOMMY passed out on a couch in one of the bedrooms.

He is fully clothed, boots and everything. His head is dangling over the edge, his orange spikes almost touching the floor. He SNORES loudly.


IN ANOTHER ROOM

Kelsey is sitting on her bed, ANGRILY eating her veggies, RADIO still PLAYING LOUDLY.

TRACK to her WINDOW, continuing until the view is -


OUTSIDE

SOMEBODY is out there, he’s holding an ASSAULT RIFLE.

Kelsey is picking at another vegetable, not thrilled but very hungry.

There is a SOUND from outside the house, several SETS OF FEET shuffling around; Kelsey doesn’t notice.

Her window SHATTERS, a CANISTER comes flying through the broken glass, green SMOKE emitting from it.

Kelsey SCREAMS and leaps out of bed.

A second CANISTER flies in.

KELSEY
(screaming)
Tommy!

She runs out of her room as the TWO POLICE OFFICERS climb in the window. Other POLICE are seen outside, rushing off in different directions.

Kelsey rushes down the hall, TWO MORE CANISTERS crashing through the LIVING ROOM WINDOW, filling the room behind her with green smoke as well.

KELSEY
(screaming)
Tommy, wake up!

She bursts through his bedroom door to find him still sleeping. She rushes to him and starts shaking him roughly.

KELSEY
Tommy, damn it, wake up!

Tommy glares at her.

TOMMY
(grumpy)
What the hell, Tink?

KELSEY
Cops are here, we gotta go!

Tommy’s eyes widen, and he flips right-side up and gets to his feet.

SEVERAL POLICE OFFICERS fill the doorway, trapping them.

POLICE OFFICER.
Don’t move!

TOMMY
Crap!

He turns to look out the window, there are MORE POLICE outside. He glares back at the Police in the doorway.

TOMMY
What’s this about?

POLICE OFFICER
You are under arrest for theft,
assault, and destruction of
public property. Down on your
knees.

TOMMY
I ain’t gettin’ on my knees, pal.
Sorry.

POLICE OFFICER
Don’t make me do this the hard
way.

TOMMY
That’s the only way I know.

He lunges the Officer, but is immediately swarmed by others, who CLUB him SEVERAL TIMES, forcing him to his knees.

KELSEY
Knock it off!

She rushes in to help her brother, but is BACKHANDED by one of the Police.

Police grab on to Tommy’s arms, holding him down on his knees.

Tommy looks up at the Police Officer in charge, blood flowing from a cut high on his cheekbone.

TOMMY
They’d better not let me go.

The Police Officer smirks.

POLICE OFFICER
Now don’t you worry about that,
son.

The Police Officer draws his PISTOL, pressing the barrel up against Tommy’s forehead.

KELSEY
No!

TOMMY
Don’t worry about it, Tink. I got
this.

POLICE OFFICER
Yeah, “Tink”. This will all be
over soon.

KELSEY
What are you gonna do to him?

POLICE OFFICER
Stealing from lower class citizens
is a crime punishable by death.

KELSEY
No, you can’t kill him!

TOMMY
Lower class citizens? We are
lower class citizens, sack face!

One of the Police clubs him in the back of the head.

Tommy GLARES at him.

Kelsey rushes over to the head Police Officer.

KELSEY
Please, please, you can’t kill
him!

The Police Officer grabs her by the face and shoves her to the floor.

Tommy sees this, TRIES to lunge. The Police holding his arms overpower him.

TOMMY
I’ll kill you, you son of a bitch!

POLICE OFFICER
(as he points gun at
Tommy’s head)
Don’t think so, punk.

KELSEY
No!

She lunges at the Police Officer, driving her shoulder into his knee.

He grimaces as he drops to a knee, the girl quickly brings her knee up to smash him in the nose.

The Police Officer falls back briefly, and Kelsey turns her eyes to the two holding down Tommy.

She SCREAMS and rushes them, but is quickly caught by one of the other Police in the room.

POLICE OFFICER 2
Relax you little bitch!

Tommy forces his RIGHT ARM forward, breaking it loose, then immediately throws his elbow back, hitting the Police right in the face.

The other Police pulls back his club, but Tommy strikes with a FIST before the club hits him.

Kelsey shoves an elbow into Police Officer 2’s stomach, but he doesn’t let go.

KELSEY
Let go of me!

She struggles and squirms, but can’t break free.

Police Officer 2 SEES Tommy leap into the air from behind his sister, flying toward him, driving a fist into the cop’s mouth.

Police Officer 2 hits the floor, Tommy grabs Kelsey by the arm.

TOMMY
C’mon, Tink, time to run.

He yanks her toward the window.

Police Officer gets to his feet and FIRES his pistol. The bullet splinters the wall by Tommy’s head.

Kelsey SCREAMS. Tommy keeps running.

Police Officer fires a couple more rounds. One of the bullets shatter the window.

TOMMY
Jump, Tink!

The two leap through the window as a couple more BULLETS hit the wall.

CUT TO:

EXT - ABANDONED HOUSE - DAY

Tommy is outside, helping his sister get out the window.

TOMMY
You okay?

KELSEY
Yeah.

TOMMY
Let’s get the hell out of here.

They turn to run, but there are FIVE MORE POLICE are waiting outside, and they OPEN FIRE.

The siblings dodge the bullets as they keep running, Tommy still clutching Kelsey’s arm.

Suddenly, Tommy PLANTS his feet and twists his body, SWINGING Kelsey into the air; She screams as her feet leave the ground.

Tommy LAUGHS as he releases her arm, hurling her at the Police.

The Police are baffled, and as she lands she takes TWO of them down with her.

With the distraction, Tommy is able to rush in. He PUNCHES one in the jaw, dropping him.

A second points his rifle at Tommy, he grabs it and yanks, kicking the Cop in the side of the head as he stumbles forward.

The Policeman releases his gun, which Tommy swings quickly, hitting the third one upside the head with it.

The Police Officer still INSIDE the house FIRES his pistol, almost hitting Tommy in the head.

Kelsey pulls the CLUB off one of the downed Police and hurls it at the Police Officer.

The Police Officer pulls the trigger again, but the CLUB hits him in the wrist, forcing the arm to go up and fire wildly at the rocky ceiling above.

TOMMY
Go, come on.

The siblings rush off.

CUT TO:

EXT - MILITIA COMPOUND - A MOMENT LATER

Genevieve is moving through the shadows, hidden behind a group of large rocks.


WITH THE GROUP

Steve notices Genevieve rushing off alone.

CUT TO:


INT. DR. MILLER’S LAB - CONTINUOUS

DR. MILLER, also in a HEADSET, watches her screen, which shows STEVE’S POV.

MILLER
Alec, where's your cadet going?

CUT TO:


INT. ALEC’S LAB - CONTINUOUS

Alec watches, a grin on his face.

ALEC
Just watch.

CUT TO:



INT. HEAD SCIENTIST’S LAB - CONTINUOUS

The Director and a man in a SUIT are looking at SEVERAL MONITORS hanging from the ceiling, each dislaying the POV of a different member of the team as they charge into the Compound.

MILLER
(over loudspeaker)
She’s going to get herself killed.

ALEC
(over loudspeaker)
She’ll be fine.

SUIT
What is that one doing?

He points to Genevieve’s POV.

The Director shakes his head.

DIRECTOR
That’s the one we were telling
your boss about.

SUIT
Bit of a wild card, isn’t she?

DIRECTOR
(smiles)
Little bit.

The Head Scientist’s focus is on a smaller MONITOR that displays each team member’s VITALS. He is also wearing a HEADSET.

HEAD SCIENTIST
Looking good, guys. Let’s get
this done.

CUT TO:



EXT. MILITIA COMPOUND - CONTINUOUS

The Compound is now a BATTLEFIELD, GUNFIRE coming from every direction. The team has spread out, trying to surround the MILITANTS.

OFF IN THE SHADOWS, Genevieve walks slowly, sneaking up behind one of the MILITANTS.

CUT TO:


INT. HEAD SCIENTIST’S LAB - CONTINUOUS

On the MONITORS, move quickly from POV to POV, pausing on Genevieve’s as she KICKS the MILITANT in the back of the head.

The Suit looks interested, eager, and confused.

DIRECTOR
Beautiful, isn’t it?

SUIT
Amazing. And you control them
from here?

DIRECTOR
Well, no, we don’t CONTROL them,
they’re not puppets.

CUT TO:


EXT. MILITIA COMPOUND - CONTINUOUS

Amy and Zetch are using the charred remains of a brick wall for cover, under heavy fire.

DIRECTOR
(V.O.)
We enhance them, improve them.

CUT TO:



INT. DR. WATSON’S LAB - CONTINUOUS

The MONITOR with AMY’S POV in the b.g., Dr. Watson is adjusting a dial marked “PERCEPTION”.

DIRECTOR
(V.O.)
By modifying their brainwaves, we
can unlock each Cadet’s true
potential.

CUT TO:


EXT. MILITIA COMPOUND - CONTINUOUS

Amy’s eyes become more ALERT. She steps out from behind the wall, and FIRES TWO BULLETS.

FOLLOW the bullets as they each pierce a different MILITANT’S skull.


ELSEWHERE

Genevieve leaps off the roof of a truck, KICKING ONE MILITANT in the head and PUNCHING A SECOND in the jaw before she lands.

She crouches and lifts her foot into the back of the leg of a THIRD, buckling his leg and dropping him to the ground.

A FOURTH turns his RIFLE on her, she swings her foot and kicks him in the chin. He drops his gun, she catches it and THROWS it into the face of ANOTHER.

He stumbles back a step, she lunges and puts a RIGHT FIST across his jaw.

CUT TO:



INT. ALEC’S LAB - CONTINUOUS

Alec watches the monitor, impressed.

ALEC
That’s right, baby.

CUT TO:


INT. HEAD SCIENTIST’S LAB - CONTINUOUS

The Director and the Suit continue to watch.

SUIT
And they just let you put all
this tech in their brains?

DIRECTOR
Some of them might have. If we’d
asked.

SUIT
They don’t know?

DIRECTOR
No.
(amused)
Don’t tell me the Government
suddenly has a problem with
keeping secrets.

SUIT
(not amused)
Of course not. Just don’t try
keeping any from us.

Head Scientist is busy monitoring the vitals, and he seems concerned.

HEAD SCIENTIST
Dr. Silas, watch your Cadet’s
blood pressure, it’s through the
roof!

CUT TO:




INT. DR. SILAS’ LAB - CONTINUOUS

Dr. Silas, who is trying to read a COMIC BOOK, rolls his eyes, ANNOYED.

SILAS
Fine.

He tosses the COMIC BOOK aside and rolls his chair over to the CONTROL PANEL.

CUT TO:


EXT. MILITIA COMPOUND - CONTINUOUS

Will is crouched behind a wall, desperately trying to reload, but his hands are shaking too much. He is HYPERVENTILATING.

CUT TO:


INT. DR. SILAS’ LAB - CONTINUOUS

Silas’ hand turns a KNOB.

SILAS
Sorry kid. Nothing personal.

CUT TO:


EXT. MILITIA COMPOUND - CONTINUOUS

Genevieve leaps from the bed of a TRUCK, landing on the wall of a TENT, collapsing it.

As it falls, she grabs one of the poles and swings it across the head of the MILITANT inside, trapped under the cloth.

As she finishes her swing, her EYES fall on Will.

SEVERAL YARDS AWAY, Will twitches, and then spasms violently. He begins convulsing, as if he were having a seizure.

GENEVIEVE
Will?

Will falls to the ground.

CUT TO:


INT. HEAD SCIENTIST’S LAB - CONTINUOUS

All three men watch in horror.

DIRECTOR
What the hell is going on?

Head Scientist looks to his monitors.

HEAD SCIENTIST
It’s an overload.
(into microphone)
Silas, what are you doing?

SUIT
(to Director)
This is highly discouraging.

CUT TO:


EXT. MILITIA COMPOUND - CONTINUOUS

Will is on the ground, still convulsing.

ZETCH
What the hell?

Genevieve is running toward him; Steve covers her.

Brian rushes to Will, kneels down on the ground next to his friend.

BRIAN
Will?

He looks into Will’s eyes, his PUPILS shrink to a barely open state, quickly followed by DIALATING until the entire iris is BLACK.

Will GASPS. Every VESSEL in his eyes bursts, turning his eyes completely red.

BRIAN
Will?

Will stops moving, lying perfectly still.

Genevieve slides to their side, her eyes immediately going to Will’s.

GENEVIEVE
Oh my God, what happened to him?


A FEW YARDS AWAY

Zetch an Amy are under HEAVY FIRE, they notice the Cadets gathered around Will.

ZETCH
(yelling)
What the hell’s going on?

AMY
(angry, stands)
Get over here, now!

A BULLET takes a large piece of Amy’s head off. Her blood sprays onto Zetch’s face.

ZETCH
Jesus!

CUT TO:


INT. HEAD SCIENTIST’S LAB - CONTINUOUS

The three men watch in terror.

SUIT
What the hell is this? You said
you had it under control!

DIRECTOR
Back the hell off! Those are my
students out there!

SUIT
Well they’d better think of
something, we were guaranteed a
victory.

The Director stares at the monitor.


CUT TO:


EXT. MILITIA COMPOUND - CONTINUOUS

Zetch is seated, his back against the wall, Amy’s body next to him. He is reloading.

OVER to Steve, still FIRING into the Compound.

OVER to Genevieve and Brian, who are still by Will.

ZETCH
(O.S.)
Let’s go Cadets! Keep fighting!

Brian, rage in his eyes, clutches his rifle and rises, ready to fight.

GENEVIEVE
Wait!

There are SEVERAL GUNSHOTS; blood spatters across Genevieve’s face.

ON Genevieve’s BLOODY face -

FADE OUT:


END OF ACT FOUR





TAG



EXT. MILITIA COMPOUND - A SECOND AGO

After a QUICK EST. SHOT of the battle, one of the MILITANTS fires his gun, the bullets spraying into Brian's RIGHT ARM.

Brian hits the ground, WRITHING in pain, as blood pours steadily from the SEVERAL BULLET HOLES running the length of his RIGHT ARM.

Genevieve, right there, covered in blood; the SOUNDS of GUNFIRE and SHOUTING fade into a constant, dull tone.

BULLETS are coming right at her; by the time they arrive where she stood she is ten feet in the air, SOARING ABOVE the SEVEN MILITANTS who are firing at her.

She DODGES the bullets in mid air and lands amongst them.

Within a COUPLE SECONDS, she takes them all out in a series of FISTS and ELBOWS.

Another MILITANT charges and fires, she leaps over the bullets, kicking him in the head as she spins. She YANKS the gun from his hand, as she brings it down on his head -

CUT TO:


INT. HEAD SCIENTIST’S OFFICE - CONTINUOUS

The Director watches as his team finishes off the MILITIA.

The Suit sighs in relief.

SUIT
Looks like they’re gonna pull it
off after all.

The Director ignores him; his eyes are fixed on the POV’S of his two dead Cadets.

The Suit realizes he’s being ignored.

SUIT
I’ll let my superiors know about
the success.

The Director still ignores him, his stoic eyes fixed on the screen.

The Suit walks to the door, leaving the other two staring into the screens.

DIRECTOR
Bring me Dr. Silas.

CUT TO:


INT. ACADEMY CORRIDOR - CONTINUOUS

Dr. Silas rushes down the hallway, cell phone in hand.

SILAS
(into phone)
I hope you guys are ready.

VOICE ON PHONE
Affirmative.

Silas pockets his phone, his pace rising as he heads toward a large steel DOOR.

CAMERA PASSES THROUGH the door, OUTSIDE the building, where there are TWENTY SOLDIERS in full body armor and armed to the teeth.

CLOSE ON one of the Soldier’s arms, on a symbol they all wear.

The ancient rune PERTHRO.

FADE TO BLACK.



END OF EPISODE ONE