EXT. HILLSIDE – DAY
An idyllic scene. From behind, we see a man (HE) and a woman (SHE) sitting in comfortable wicker chairs on a hillside, under the spreading branches of a great oak tree. They are only visible to us at first in silhouette. There is a table between the two chairs. Below the figures, we can see a large farm – there is a big red barn and a farmhouse.
WNF PRODUCTIONS PRESENTS
You have a very nice life here. A quiet life. It would be a shame if anything happened to... disrupt that.
Your bodyguard is twenty-five meters away. Even with the best neural upgrades money can buy, it would take him longer to draw his sidearm than it would take for me to put my index finger through your forebrain and turn you into a vegetable. Threatening me and mine is about the dumbest thing you could do.
A BILL TEMPLETON GAME
...so I’ll ask you again: What do you want?
HE (icy calm)
You misunderstand me. I came here as a friend.
TABLE – CLOSE
We see a hand (HE) reach into the frame and place a photograph on the table. Another hand (SHE) reaches out to pick it up.
The photograph was taken in Paris yesterday.
THE PHOTOGRAPH – CLOSE
We see a black-and-white still from a security camera that shows a crowd of people in Paris’s Gare du Nord. The figure at the center of the frame is clearly MICHAEL DANE (Liam Neeson), dressed in a suit and a long black coat.
Your friend, Ms. Connelly, arrived in Paris a week ago. But I’m sure this is just a coincidence.
To show KARYAN ARONYAN (Tulip Joshi) holding the photograph. She is seated opposite SHERMAN HUANG (Ken Wattanabe), the President of Renraku America. DISSOLVE TO:
EXT. SEATAC – NIGHT
We see Karyan, in full ninja gear – a jet black bodysuit under a black leather jacket with two katanas strapped to her back and wraparound mirrorshades – striding in slow-motion across the tarmac.
...You’re not coming.
The hell I’m not. If you think you can run away to Europe every time we have an argument, think again. If we’re going to make this work, we’ve got to stick together.
We see LEAH (??) is waiting next to an ebony black private jet with the Renraku logo on its tail. She is carrying a small suitcase, and she looks worried.
INT. JET – NIGHT
We see Karyan and Leah sitting across the aisle from each other. As the camera pulls back down the aisle, it seems like there is an enormous space between them.
EXT. SKY – NIGHT
We see the Renraku jet flash past the camera, quickly disappearing in the night sky except for the blinking tail light. FADEOUT.
EXT. PARIS SKYLINE – NIGHT
The camera drifts over a futuristic Paris skyline. Although there are a few more modern buildings visible, airships with corporate logos drifting over the city, and holograms playing over some of the buildings, the Paris of 2051 looks remarkably untouched by time. The Eiffel Tower is visible along the Champ de Mars.
THE EIFFEL TOWER - CLOSER
As the camera drifts in toward the Eiffel Tower, we can see flashing lights from inside the platform at the top of the tower, and hear POUNDING DANCE MUSIC from within.
INT. NIGHTCLUB – NIGHT
THE MUSIC IS MUCH LOUDER NOW. The camera drifts across the dance floor of La Tour, through a sea of blazing lights, clouds of dry ice vapour, trideo holograms, and beautiful people dancing. We see macho orks, sleek elves in decadent Eurostyle fashion, tattooed dwarves in leather and drag, cyborgs wearing next to nothing to show off their chrome-plated limbs, even a few humans. As the camera moves through the crowd, the music begins to recede. We follow a YOUNG WOMAN in a short gown as she breaks from the crowd and steps through a pair of glass doors to a balcony outside.
EXT. BALCONY - NIGHT
The camera moves to her side and we see that it is MUIRIN CONNELLY (Andrea Corr), alive and well, glamourously dressed and styled, but clearly lonely. We see the City of Lights spread out below her. She lifts a glass of champagne to her lips and drinks. As she does, a WIND picks up around her, blowing her new hairdo back wildly. She lifts a hand to her face just as we see a HELICOPTER rise into the shot, training a bright SPOTLIGHT on Muirin.
THE HELICOPTER – CLOSE
We see a MERCENARY in sleek body armor lift a tricked-out sniper rifle to his eye and take aim—
MUIRIN – MEDIUM
We see Muirin kick off her (expensive-looking) shoes in a quick motion, and DIVE OVER THE EDGE of the railing!
EXT. TOWER BASE / LOOKING UP – NIGHT
We see the DARK SILHOUETTE of Muirin as she drops away from the balcony, still caught in the light from the helicopter’s spotlight. The camera zooms up to meet her as she falls, and as we get close enough to see her face, we see that she is beginning to CHANGE SHAPE. Shining, irredescent scales are beginning to bloom all over her face, shoulders, and arms, and we catch a glimpse of a SMILE on her face and YELLOW, REPTILLIAN EYES as she falls, filling the camera’s frame, and we WIPE TO BLACK.
EXT. CHAMPS DE MARS – NIGHT
From ground level, we see A DRAGON, perhaps five meters long from nose to tail, swoop overhead, causing the crowd looking on to scream and scatter for cover. The helicopter spins, then dives and follows Muirin at high speed.
EXT. HELICOPTER – NIGHT
The camera follows along with the helicopter as it comes up to speed and follows Muirin over the roof of the Ecole Militaire. Muirin stays low, executing a series of high-speed turns that keep her just out of line-of-sight for the helicopter, dropping below roof level to shoot through an alley or cut from one street to the next, just barely above the level of cars and pedestrians.
HELICOPTER / STARBOARD DOORGUN – MEDIUM
We see the MERCENARY, strapped into a harness, bring a MACHINEGUN to bear and fire a burst.
EXT. RUE DE VAUGIRARD – NIGHT
At ground level, we see the dragon and helicopter swing overhead, and we can hear the sound of MACHINEGUN FIRE. The camera swings left as the dragon plummets from the sky on the Boul. Pasteur with an INHUMAN SHRIEK as the machinegun strikes its target. In the foreground of the shot, we see a figure in red motorcycle leathers astride a sleek, futuristic motorcycle.
EXT. INTERSECTION – NIGHT
We see MUIRIN, back in her humanoid form, getting up from the pavement. She clearly has a wound in her side that is bleeding, soaking her dress and running down one leg. She looks shocky and panicked, and stumbles as she gets to her feet. Overhead, we see the helicopter swing around and change its orientation, preparing to land. Muirin clutches at her side and stumbles into the foreground of the shot when we see the MOTORCYCLE RIDER from the last shot arrive in the foreground with the roar of a high-powered engine.
and PAN UP the body of the rider – now clearly female – to her helmet. It is a custom unit with an elaborate paint-job that turns the visor into an elaborate CHESHIRE CAT GRIN with two small green eyes above it. The helmet’s front unfolds like a flower – a memory metal alloy – and we see that inside the helmet it is CAT COTE (Jennifer Connelly).
CAT (holding out a hand)
Grateful, Muirin jumps on the back of the motorcycle and they take off at high speed, directly toward the HELICOPTER. We can see the inside of the custom visor light up – like a computer display – and lines of code scroll across Cat’s line-of-sight.
As the motorcycle streaks toward the helicopter, it pivots to turn the DOORGUNNER toward Muirin and Cat. Suddenly, there is a FLASH OF LIGHT inside the helicopter and all the internal lights go out. The ENGINE lets out a WHINE and we see the helicopter start to list to one side, careening down, as the motorcycle zooms down the street, threading through traffic at high speed.
EXT. PARIS STREET - NIGHT
We see the motorcycle with Cat and Muirin pass. A figure in a long coat and broad-brimmed hat steps into the frame – we can’t make out any features, but the person is feminine, slim, and dressed stylishly. She reaches out and places a GLOVED HAND on the wrought-iron light pole next to her, and we see a BLUE GLOW from between her fingers. As she takes her hand away, we can see a GLOWING BLUE RUNE on the metal.
EXT. INTERSECTION – NIGHT
We see the motorcycle screech to a halt as traffic stops at an intersection. Muirin, exhausted and bloodied, clings to Cat’s back. Cat’s face is invisible except for her eyes inside the visor of the “Cheshire grin” helmet, but we suddenly see them WIDEN IN SURPRISE.
REARVIEW MIRROR – CLOSE
Behind them, beyond the stopped vehicles nearby, we see a group of THREE ENORMOUS HUMANOIDS – FROST GIANTS! – racing along the street toward them.
Tabarnac. You’ve got to be fucking kidding me.
THE MOTORCYCLE – CLOSE
Cat guns the engine, and we can see the phosphor letters and number of a computer display light up inside her helmet, scrolling down the inside of the visor.
Just hold on tight.
THE INTERSECTION - MEDIUM
We see the TRIDEO traffic light – a hologram floating above the intersection – suddenly change, and Cat’s motorcycle races forward with the vehicles in front of her. As they pass through the intersection, zipping around cars on the edge of the street and bumping up over the sidewalk, the lights go RED again, blocking both lanes of traffic. Vehicles come to a screeching stop and several crash, creating a great tangle in the middle of the intersection.
THE FROST GIANTS charge into the intersection and knock cars out of their way like they were toys.
EXT. BOUL. DE LA TOUR MAUBOURG – NIGHT
Cat and Muirin are really red-lining it now, changing lanes of traffic, leaping the curb on to the sidewalk, threading between pedestrians and vehicles so quickly we can barely follow the movements. But it’s no good. The giants just plow through everything in their path. They’re catching up. We see the fear on Muirin’s face as she looks back at the hulking giants, as they swat people aside with weapons the size of telephone poles.
As the bike crosses the Pont Alexandre Bridge, we see the word NITROUS appear on the control column and we cut into SLOW-MO for a moment as Cat pulls the bike up into a wheelie, turning into the path of an oncoming, sleek Euro-style sports car with a smooth, streamlined shape to its hood.
NITROUS BOOSTERS kick in as the bike bounces off the front off the sports car, sending it airborne—
We see the bike fly through the air, OFF THE BRIDGE, dropping thirty feet to the VOIE EXPRESSE RIVE GAUCHE – a high-speed highway that runs along the banks of the Seine. We see in Cat’s eyes that she wasn’t quite sure she’d make it, but no luck – we see the FROST GIANTS leap from the bridge behind them to land on the expressway!
EXT. EXPRESSWAY – NIGHT
(Normal speed) We can see the motorcycle and the FROST GIANTS approaching in the distance. As they do, A SHADOWY FORM steps from the side of the highway and walks straight out into the middle of the expressway. Several (civilian) cars miss the figure narrowly.
As the MOTORCYCLE comes into the center of frame, the person in the middle of the road is directly in Cat’s path! She swerves wildly, and we catch a quick glimpse of a beautiful dark-skinned woman with long braids wearing a long leather coat. She has her face painted with white makeup to resemble a SKULL.
Behind her, we can see the motorcycle slam on its brakes as Cat fights for control. She manages to stop a few feet short of plunging into the river.
THE WOMAN (French-Carribean accent)
Sparky, git down.
BEHIND THE WOMAN – CLOSE
The Frost Giants are almost on top of the Woman. They raise their weapons—
THE WOMAN – CLOSE
--As the Woman seems to DRAW IN A BREATH. She EXHALES A STREAM OF WHITE FLAME.
Are immediately engulfed and consumed by the fire, letting out a dull roar as they collapse to the pavement.
MUIRIN – CLOSE
CUT TO BLACK.
EXT. SKY – NIGHT
We see the black Renraku jet streak across a starlit sky. Below, we can see a bullet train, the TGV, coming up to speed as it crosses the French countryside. As the camera moves in on the jet, we can see that CAT COTE is sitting in the cabin. Green phosphor computer displays are projectedon the window in front of her. The camera DISSOLVES through the skin of the jet to
INT. CABIN – NIGHT
We see Karyan and Leah standing next to the exterior hatch. Karyan is securing her combat gear, strapping down her swords. Leah looks frantic.
Okay, we’re level at a thousand meters, leading the train... matching speed at 500 kmph.
This is insane.
This could be our only shot at Dane.
You’re dropping out of a jet on to a train going almost three hundred miles per hour without a parachute!
The earth will catch me.
She punches a button, opening the hatch. There is a sudden rush of air from the cabin as the door cycles open. Karyan leans in and kisses Leah, hard, then throws herself from the plane. THE CAMERA FOLLOWS HER IMPOSSIBLY CLOSELY, hanging just a few feet away from her shoulder and tracking her movements.
EXT. SKY – NIGHT
Karyan tumbles through the sky, and as she rolls, we see the JET moving away above and ahead of her. She rolls again, catching herself by spreading her arms like wings to bring herself into stable flight. We can see the line of the railroad tracks below her. As the TGV comes into view below her, she folds her arms and begins to drop toward the train at high speed!
KARYAN – CLOSE
Karyan’s hair snaps around her head in the wind, and we get the sense of the tremendous speed she is dropping at. We see her close her eyes.
THE TRAIN – MEDIUM
The camera tracks with the TRAIN as it streaks through the countryside. Again, the sense of incredible SPEED as the trees and farmhouses whip by. Above the train we can see a tiny dot – KARYAN – dropping from the sky toward the train, which is beginning to pass her by. The tiny dot begins to FLARE with golden CHI ENERGY, like a falling star.
KARYAN – CLOSE
We see Karyan, eyes still closed, surrounded by the golden glow. We go into SLOW MOTION as the following unfolds: Her eyes snap open and the camera begins to PULL BACK as she spreads her arms and goes into a roll, bringing her legs around so that she is feet-down, and she somehow seems to slow her momentum just as she drops the last thirty feet to the top of the TGV, landing in a CROUCH. CUT TO BLACK.