CROWN by Max Hurwitz

CRWN
Written by
Max Hurwitz
In November 2008, the FBI detected a new computer virus called Conficker.
Within three months, it grew into the largest virus ever recorded.
No one knows who designed it.

No one knows what it does.
And only one man is capable of stopping it.
START MOTION PICTURES

375 Hudson Street
New York, NY 10014
212.989.2200
start-media.com 9.11.13
SMASH OPEN:
INT. COFFEE SHOP - DAY
The back of a teenagers head, bobbing to some unheard beat.
He has a given name, but for now call him NIGHTWATCH.
He sits at a community table, laptop open in front of him.
All around him, we see a DOZEN CUSTOMERS reading and working.
Idle chatter and beeping cash registers. We could be at any
coffee shop in any suburb in the country.
After a moment, he reaches for his laptop and PULLS a THUMB
DRIVE from the side. He drops it in a CARDBOARD BOX on his
left, and then grabs ANOTHER THUMB DRIVE from a box on his
right. There are HUNDREDS of identical drives in each one.
He begins to type, and VOICEOVER BEGINS -- rapid-fire and
impatient, like someone begrudgingly giving a tutorial.
PETER (V.O.)
This is how you black out a city.
CUT TO:
INT. CAR - NIGHT
A CARDBOARD BOX full of THUMB DRIVES rocks in the passenger
seat as street lights wash over them.
PETER (V.O.)
The first step is learning how the
system works. How everything
connects. Why everything matters.
Thats the first step no matter
what youre trying to do.
The car pulls to a stop. Nightwatch grabs the box.
EXT. POWER PLANT - PARKING LOT - NIGHT
We follow the box under Nightwatchs arm as he reaches inside
and drops THUMB DRIVES on the ground. He wanders the lot,
scattering them like bird seed.
PETER (V.O.)
Then you need to find an exploit, a
hole. If you think there isnt one
that just means you gave up too
easily or youre an idiot. In this
case the hole is a privilege
escalation vulnerability in a
keyboard layout file.
One particular DRIVE lands on the ground. We hold as we...
DISSOLVE TO:
2.
EXT. POWER PLANT - PARKING LOT - DAY

The same shot during the day. A COROLLA pulls up next to the
thumb drive and parks. A LOAFER swings out of the car and
lands next to the drive.
A HAND reaches into frame to pick it up, and we follow the
hand until we see the face of the WORKER who found it.
PETER (V.O.)
Simple is better. Spend enough
hours looking and you might find a
back door into the internal network
of the System Operations Center,
but its easier to save your
malware on USB drives and scatter
them around the parking lot.
The Worker contemplates the drive. Looks brand new.
INT. POWER PLANT - OFFICE - DAY
The Worker pops the THUMB DRIVE into the DELL TOWER under his
cluttered desk and waits. After a moment, a WINDOW pops up
on his screen. Empty -- no files.
The Worker clicks the empty window, confused.
PETER (V.O.)
Eventually some poor sap who works
in the building will be curious
enough and dumb enough to plug one
of your drives into a machine
connected to their network. Just
to check it out, just for a second.
But thats all it takes.
CLOSE ON the computers ACTIVITY LIGHT -- it blinks
frantically, stopping just before the Worker PULLS the drive
from the computer.
PETER (V.O.)
Internal networks usually have piss-
poor security, because lazy admins
think being cut off from the
outside world makes them safe.
We stay on the computer, moving around to the back of the
tower and following the ETHERNET CABLE into the wall --
INT. POWER PLANT - VARIOUS - DAY
We FLY through the cabling in the walls, twisting through the
building. We snake through rooms, watching PEOPLE WORK IN
CUBICLES and GENERATORS SPINNING IN A MACHINE ROOM --
3.
PETER (V.O.)
So your bug just spreads and
spreads --
INT. POWER PLANT - SYSTEM OPERATIONS CENTER - DAY
We fly through the power plants mission control. A 70 by
16 screen on one wall that displays the entire electrical
network. A dozen TECHNICIANS monitor the activity.
PETER (V.O.)
-- and spreads and spreads --
We squeeze through another ETHERNET PORT into a --
INT. POWER PLANT - SERVER ROOM - DAY
-- room with a half-dozen GRAY SERVER RACKS, activity lights
blinking. Managing the equipment and offices we just saw.
PETER (V.O.)
-- until youre in the main server.
Thats the gold mine, the holy
grail, the other clichs. You root
the admin account and you have an
all-access pass to do whatever you
want. Direct connection.
We suddenly SHOOT DOWN through the floor --
INT. UNDERGROUND - DAY
-- and ZOOM along an UNDERGROUND CABLE, rapidly turning as
the thick wires split and change direction --
INT. COFFEE SHOP - NIGHT
-- and emerge in the same coffee shop as before. Nightwatch
sits in the same seat, but the nighttime crowd is thinner.
ON THE SCREEN: Connection established
PETER (V.O.)
So the question is, what do you
want to do first?
Nightwatchs FINGERS hover over the keyboard for a moment.
In a window behind his main console, we see a CHAT ROOM of
sorts. And if we're quick, we can make out several names:
Crown, Marchee, Profs, Teknine, and finally Nightwatch.
The hacker takes a deep breath, then types a rapid-fire
command and hits ENTER --
4.
INT. UNDERGROUND - NIGHT

We ZOOM back along the UNDERGROUND CABLE, twisting and
turning --
INT. POWER PLANT - SERVER ROOM - NIGHT
-- and pop back up in the server room. We float past
BLINKING ACTIVITY LIGHTS and then dive into the wall, moving
through CABLING --
INT. POWER PLANT - CUBICLE FARM - NIGHT
We float through the empty cubicles. Everything packed up
and turned off for the night.
Then: one COMPUTER TURNS ON. Then ANOTHER. Then EVERY
COMPUTER, one by one, bathing the darkened office in a sickly
blue glow.
A PRINTER FIRES UP, spitting paper. We see one page:
HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA
Over and over in giant letters. Down through the floor --
INT. POWER PLANT - LOBBY - NIGHT
The SLIDING DOORS OPEN. The SECURITY GUARD looks up from
behind his desk, confused. He cautiously stands, putting his
hand on the TASER on his belt. The doors CLOSE, and then
OPEN again.
The Guard reaches for his phone, but its DEAD. Behind him,
LIGHTS SHUT OFF, one by one. The Guard begins
hyperventilating. We DROP through the floor --
INT. POWER PLANT - BASEMENT - NIGHT
The temperature on the THERMOSTAT clicks up to 120 and STEAM
SHOOTS from a pipe --
INT. POWER PLANT - SYSTEM OPERATIONS CENTER - NIGHT
The GIANT SCREEN flickers off, piece by piece. The NIGHT
SHIFT reacts in surprise as each technicians station flashes
to the BLUE SCREEN OF DEATH --
INT. POWER PLANT - GENERATOR ROOM - NIGHT
We fly past the MASSIVE GENERATORS and settle on a GRAY BOX
attached to the wall. Plastic with a locked latch, like a
shoebox-sized locker with cables running out the top and
bottom.
We hold on the box for a beat. Two beats. Then:
5.
A PUFF OF SMOKE escapes from the latch. Barely noticeable.

But the HUM of the generators changes pitch...
EXT. POWER PLANT - NIGHT
Birds-eye view of the power plant. Suddenly, all the lights
around it FLICKER OFF. Then the lights of the WHOLE BLOCK.
Then the NEIGHBORHOOD.
As we widen out, more sections of the power grid go down, one-
by-one like dominoes, until...
INT. COFFEE SHOP - NIGHT
All the lights go out. The patrons GASP and MURMUR for a
moment, then begin to pack up their things.
A slight grin breaks out on Nightwatchs face, still
illuminated from the screen of his battery-powered laptop.
PETER (V.O.)
Okay. You did it. You think
youre in control. Anonymous.
Untraceable. Invincible.
Nightwatch shuts his LAPTOP --
PETER (V.O.)
But theres a mistake youre
making. The same one I made.
He pulls the POWER CORD from the socket and stuffs everything
in his bag --
PETER (V.O.)
The problem is youre not really
connected to a network of
computers. Youre connected to a
network of people.
EXT. SATELLITE VIEW - NIGHT
Far enough away to see that the blackout is centered on a
suburban portion of the Eastern seaboard. Its not a
particularly well-known area, but those familiar will see
its Fort Meade, Maryland.
PETER (V.O.)
And theyre never exactly who you
think they are.
Emergency generators kick in and an ENORMOUS COMPLEX in the
center LIGHTS UP. A beacon in the surrounding dark.
SMASH TO TITLE:
CROWN_
6.
The title STUTTER-FLASHES OUT, giving way to a BLINKING

CURSOR.
BLINK. BLINK. Then, a number appears:
2001:db8:0:1339:0:667:4:1_
The cursor blinks at the end of the line. BLINK. BLINK. A
command is typed:
/whois 2001:db8:0:1339:0:667:4:1_
A bunch of data spits out, ending with:
1576 Ringe Drive
Odenton, Maryland 21113_
Blink. Blink. Blink.
SMASH CUT TO:
EXT. SUBURBAN HOUSE - NIGHT
Establishing. Unremarkable house on Ringe Drive. An
UNMARKED BLACK CAR pulls up in front of the house, followed
by a few ANNE ARUNDEL COUNTY POLICE DEPARTMENT cruisers.
INT./EXT. UNMARKED BLACK CAR - NIGHT
In the driver's seat is RICK CHAN. Mid-twenties, tailored
suit. Tightly wound, intelligent, with a smug air of
superiority.
In the passenger seat is MARY DUBLONSKI (50s), eating a
POWDERED SUGAR DONUT. She comes off as laughably casual, but
theres a reason shes running the FBI Cybercrime division.
Rick puts the car in park. POLICE OFFICERS get out of their
cruisers and quietly set up a perimeter. Dublonski looks at
the darkened house.
DUBLONSKI
Never ceases to amaze me how
unimpressive their lives are up
close.
RICK
I find the whole of Maryland fairly
unimpressive.
Dublonski dusts off powdered sugar, gets out of the car.
Dublonski walks across the yard to the house as she puts an
EARPIECE RADIO in her ear. Rick catches up as they tromp
over the grass.
7.
DUBLONSKI
How is there an entire floor of
tech guys back in New York who
can't decrypt one teenager's hard
drive?
RICK
Technology's advanced a bit since
WarGames was in theaters.
DUBLONSKI
That was when you were what, five?
RICK
Wasn't even born yet.
DUBLONSKI
Jesus.
Dublonski and Rick reach the door. They're joined by a
UNIFORMED OFFICER. More officers sneak around back. Rick
opens his jacket and puts his hand on his PISTOL.
Dublonski clocks it --
DUBLONSKI (CONTD)
He's a nineteen year-old geek who
lives with his mom.
Rick shrugs and leaves his hand in place. Dublonski KNOCKS
on the door.
After a moment, it opens a crack. Chain's still bolted. MS.
GARRETT (40s) is on the other side. Stringy hair, paranoid.
MS. GARRETT
Who are you?
Dublonski holds up her FBI ID CARD --
DUBLONSKI
Sorry to bother you so late, ma'am.
I'm Special Agent Mary Dublonski
and this is Agent Rick Chan with
the FBI. And this is officer...
Dublonski waits for the Uniformed Officer, who catches on a
half-second too late.
UNIFORMED OFFICER
Phillips.
DUBLONSKI
Marylands finest. Is Keith home?
She looks back and forth between Dublonski, Rick, and the
police officer.
8.
MS. GARRETT
Is my baby in trouble?
DUBLONSKI
A little bit, ma'am. We have a
warrant, if you could please open
the door.
Rick holds out a WARRANT. She looks at it through the crack --
MS. GARRETT
He's not here right now.
DUBLONSKI
Warrant still stands. Ma'am.
Ms. Garrett's eyes dart back and forth, thinking --
EXT. SUBURBAN HOUSE - BACK YARD - NIGHT
A TALL OFFICER crouches to look inside a BASEMENT WINDOW --
INSIDE THE HOUSE
KEITH GARRETT ("NIGHTWATCH" from the opening sequence) stands
in the doorway, trying to hear what's happening upstairs.
BACK OUTSIDE
The Officer reaches for his radio --
TALL OFFICER
Got eyes on him in the basement.
Dublonski and Rick both hear the warning in their earpieces.
DUBLONSKI
Ma'am, open the door.
MS. GARRETT
I told you he's not home --
RICK
(to Dublonski)
Tick tock.
DUBLONSKI
Ma'am.
MS. GARRETT
You all get away from my house --
DUBLONSKI
(to Rick)
Okay. Draw the gun.
9.
Dublonski steps aside as Rick pulls his PISTOL --

RICK MS. GARRETT
Step away from the door now. Shit --
She SLAMS the door shut. Rick winds up and KICKS the door,
SPLINTERING IT OPEN --
Ms. Garrett SCREAMS --
INT. SUBURBAN HOUSE - CONTINUOUS
Rick pushes past her into the dark house, searching for a way
downstairs. He tries one DOOR -- a closet. Then ANOTHER --
stairs. Rick runs down --
INT. SUBURBAN HOUSE - BASEMENT HALLWAY - NIGHT
-- and emerges in a basement hallway. Closed door on the
other end. Rick approaches, PISTOL out in front of him --
RICK
Keith. I'm coming in, so put your
hands where I can see them.
No response. Rick reaches for the handle, cautiously --
BANG! A bullet tears through the door. Rick pulls back
against the wall.
RICK (CONTD)
Keith!
Rick waves Dublonski back as she comes down the stairs.
RICK (CONTD)
Bastard's shooting at us.
They both fall silent. Listening. Then --
BANG! Another shot rips down the hallway.
DUBLONSKI
(yelling)
Keith. You're shooting at federal
agents.
RICK
We should call tactical.
DUBLONSKI
Thatll take too long.
(into radio)
Do you have eyes on him out there?
10.

The Tall Officer looks through the window -- he can't see
anyone inside. He gets up close, cautiously...
THERE. The Officer can see just the top of his head. He's
sitting on the floor, directly under the window, across the
room from the door.
Dublonski and Rick wait for a response.
TALL OFFICER (RADIO)
He's right under the window.
DUBLONSKI
(into radio)
Okay. Break it in.
TALL OFFICER (RADIO)
Break in the window?
DUBLONSKI
One, two, now.
The Officer SHATTERS the window with the butt of his gun --
Dublonski and Rick hear the GLASS BREAK and STORM INSIDE --
INT. SUBURBAN HOUSE - BASEMENT ROOM - CONTINUOUS
Both enter with guns drawn --
KEITH GARRETT
Don't shoot! Don't shoot me!
Keith's covering his head on the floor as GLASS RAINS DOWN on
him. LAPTOP in front of him. Rick KICKS it away and POUNCES
on him, knocking the GUN out of his hands --
Rick shoves him to the ground and HANDCUFFS him as he
whimpers --
GARRETT
I'm sorry! God I'm sorry!
Dublonski picks up the laptop. She and Rick make eye contact
across the room as Keith squirms under Rick's knee.
11.
INT. CYBERCRIME OFFICE - DIGITAL FORENSICS - NIGHT

A "clean room". White, sterile. Dublonski and Rick are
hunched over the shoulder of a chubby analyst named SIMMS
(30s), who works on a three-monitor rig.
Keith Garrett's laptop is laying to one side like a
transplant patient, opened up with all the guts torn out.
The hard drive's open, with the SPINNING DISKS placed inside
a SPECIAL READER.
SIMMS
The media's in okay shape,
actually. Some of the data's
hosed, but I salvaged most of it.
Found these chat logs.
Simms clicks, bringing up a massive amount of text.
SIMMS (CONTD)
Thought you might find this one
interesting. From last week.
Simms points to one of the screens. Highlighted:
CONFICKER
Dublonski and Rick share a look.
EXT. CENTRAL PARK - EARLY MORNING
The sun's barely up. Assistant Director in Charge DAN
ZALPOWICZ (60s) huffs and puffs down a Central Park jogging
trail as Dublonski easily keeps pace.
Zalpowicz runs the New York Field Office, and he's
comfortable with his role as a middle management bureaucrat.
Hell put up with outside-the-box thinking to a point, but
isnt afraid to clamp down when he can't predict an outcome.
ZALPOWICZ
Absolutely -- not.
DUBLONSKI
Dan, it's our best chance.
ZALPOWICZ
He's not -- not an undercover
agent.
DUBLONSKI
He's not an agent at all. That's
why this can work.
Zalpowicz has to stop, putting his hands on his head and
gulping in breath. Dublonski stops with him.
12.
ZALPOWICZ
Goddamn wife thinks I'm getting
fatter, can you believe that?
Kicks me out of the house at 5 am
and won't let me back in unless
I've worked up a sweat.
DUBLONSKI
Probably not too late to pick up a
late-shift prostitute. Thatll get
you sweating.
Zalpowicz sneers at her, still wheezing. Dublonski steers
back to the topic at hand --
DUBLONSKI (CONTD)
Look, they don't know what
Nightwatch looks like, what he
sounds like, where he's from.
Peter's arrest wasn't in the news
anywhere and he's been monitoring
Nightwatch online for a month.
He's how we found him. It's just
one day --
ZALPOWICZ
Stop talking. Now. I cant let
your pet monkey with a court-
mandated ankle bracelet go to a
hacker convention in Atlantic City.
Are you an idiot?
DUBLONSKI
Creative thinker.
ZALPOWICZ
Send Rick instead.
DUBLONSKI
I love Rick. I do. But he smells
like Fed from fifty yards. Shay is
one of them.
ZALPOWICZ
That's what I'm afraid of.
DUBLONSKI
Dan.
ZALPOWICZ
When you took this desk you said
you'd play it safe, do a year in
cybercrime, and take your pension
like a good god-damn lifer should.
This is the kind of thing one does
when theyre planning to file an
extension.
13.
Dublonski holds his gaze, not refuting him. Zalpowicz looks

around the park in the early-morning mist, disappointed.
ZALPOWICZ (CONTD)
Jesus. How much do you really
trust Peter Shay?
Off Dublonski, as the question hangs...
CUT TO:
INT. ANNAS HOUSE - KITCHEN - MORNING
Eggs FRY in a pan. Were in a cramped kitchen as ANNA (early
30s) flies around preparing breakfast. Shes dressed in
HOSPITAL SCRUBS and looks exhausted -- like a popular
cheerleader whose life didnt go quite as planned.
ANNA
Michael! Five minutes!
ON A SCREEN
COMPUTER-GENERATED SOLDIERS storm a POST-APOCALYPTIC NEW YORK
street, FIRING and THROWING GRENADES as digital HELICOPTERS
scream overhead --
INT. ANNAS HOUSE - BASEMENT ROOM - MORNING
Low ceilings. Dark wood. Mattress on the floor. Everything
about the room is claustrophobic.
PETER SHAY (mid-20s) sits on the floor next to MICHAEL (10),
his nephew, both wearing XBOX HEADSETS and playing CALL OF
DUTY on Peter's small TV.
Peter is tall and slender, with brown-yellow eyes that never
stop searching. He's the kind of person you wouldn't even
notice on the street, which is part of why the FBI thinks
hes so dangerous.
PETER
Alright, stay low. Wait for cover
fire... Now! Go go go go --
MICHAEL'S AVATAR jumps out into the fray as PETER'S AVATAR
(who is FEMALE) provides cover fire. Michael's avatar makes
it to the next layer of cover and LOBS A GRENADE --
MICHAEL
Why do you always play as the girl?
Peter's avatar FIRES and runs to join Michael's --
PETER
You're not some six-two Marine last
time I checked.
14.
MICHAEL
Its weird though.
ANNA (O.S.)
Michael! Im not kidding!
PETER
Thats why the games fun. You can
be anyone you want.
Michael's avatar peeps out from behind the cover and gets
NAILED IN THE HEAD --
MICHAEL
Shit!
PETER
Hey, language. Go eat.
MICHAEL
One more game --
Michael tries to restart but Peter grabs the REMOTE and
clicks off the TV --
PETER
Upstairs. My sisters scary.
MICHAEL
Are you coming?
PETER
Yeah Ill be right there.
Michael seems skeptical, but scrambles up the stairs anyway.
Peter wakes his LAPTOP, sitting on a table behind him.
He opens his email, scrolls, stops cold. Subject line:
Confirmation for appointment with S. Farrow
He checks the clock -- 7:23. Shit. He's late.
INT. ANNAS HOUSE - KITCHEN - DAY
Anna finishes dumping eggs on a plate as Peter rushes in --
coat on over a cheap suit, bag slung over his shoulder.
Michael brightens.
ANNA
You want to take off your coat?
Peter looks at Michael and hesitates.
PETER
I'm late for that interview with
Farrow.
15.
ANNA
Steve Farrow?
PETER
He works network security at the
stock exchange now. Pays well.
ANNA
Good for him.
PETER
He can get me this job, Anna.
Anna blocks the exit with her body, looking at Peter's shoes.
His pants are bunched up around a GPS ANKLE MONITOR. Peter
looks down and sees the problem, smooths out his pants.
ANNA
Heard that a lot from you lately.
PETER
I really have to go.
(looks at Michael)
Im sorry.
Anna looks disappointed, but makes no move to stop him as he
squeezes by her and out of the kitchen. A moment later we
hear the front door shut.
Michael looks down at his plate, clearly disappointed.
Resigned, Anna takes a bite of bacon.
EXT. ANNA'S HOUSE - DAY
Peter walks down the driveway, bag slung over his shoulder.
On the street, Dublonski is waiting for him, leaning against
a BLACK TOWNCAR, drinking coffee.
DUBLONSKI
Look at you with your tie.
Peter approaches, stops.
PETER
I have a thing in the city.
Dublonski opens the passenger door --
DUBLONSKI
That's swell. I need to talk to
you about something.
(Peter hesitates)
It's adorable you think you have a
choice.
16.
INT. BLACK TOWNCAR / EXT. LOWER MANHATTAN STREETS - DAY

Dublonski drives as Peter fidgets uncomfortably in the
passenger seat, looking through her NOTEBOOK.
PETER
Atlantic City?
DUBLONSKI
Last week the ringleader -- the one
who goes by "Crown" -- he called
some sort of meeting during the
"Hacktiva" convention this weekend.
Whole crew's supposed to get
together, Crown, Profs, Marchee,
Teknine. Nightwatch.
Peter looks up at her, realizing what she's asking.
DUBLONSKI (CONTD)
They're planning to steal a set of
logins for Conficker.
PETER
I don't know what that is.
DUBLONSKI
This is why I ask you to come to
meetings -- okay. It's a worm.
Some honeypot firm found it about a
month ago, and it's currently
building the largest botnet on the
planet. If it keeps this pace
there'll be a 90% saturation rate
by the end of the year.
PETER
That's impossible.
DUBLONSKI
It's a digital nuclear bomb. Send
one byte of data from every
infected machine at the same time
and you lock up every networked
device on the planet. Its
cybercrimes top priority.
The gravity of that isn't lost on Peter. He remains silent.
DUBLONSKI (CONTD)
You go to this meeting as
Nightwatch, help steal the logins,
and we arrest the blackout guys and
this worm's creator in one fell
swoop. Then we use the logins to
shut down Conficker for good.
17.
PETER
No.
DUBLONSKI
No?
PETER
When we started this you said I
wouldn't have to testify. Wouldn't
have to look anybody in the eye. We
didnt specifically talk about
assuming some other hackers
identity but I think that falls
outside the bounds of our agreement.
Dublonski pulls over and stops in front of a TALL OFFICE
BUILDING. Metal-and-glass in Lower Manhattan. She sighs.
DUBLONSKI
One of my first cases in the Bureau
was this bank heist in the Bronx.
Couple junior varsity morons. They
did okay inside, but they're
running out the door and one of
them trips and knocks his front
teeth out. Concussion, all that.
Other guy, his best friend since
they were in diapers -- he just
leaves him there. Gets away clean.
(sips coffee)
We bring dumbass number one back to
the interrogation room and the
first and last words out of his
mouth are, "I ain't no snitch."
Except he's still missing his two
front teeth, bleeding like a
faucet, so what he really says is,
"I ain't no thnitch."
(beat)
Did twenty-two years in Lewisberg.
We never got his friend, though.
Peter thinks about the story. Dublonski reaches into the
back seat and grabs a laptop, hands it to Peter.
DUBLONSKI (CONTD)
This is Nightwatch's laptop.
Peter takes the laptop, looking it over, spinning it in his
hands. He's not happy about this.
DUBLONSKI (CONTD)
You're facing espionage charges,
Peter. Thirty years. I said I'd
only work with the D.A. if you
helped me, and help means whatever
I say it does.
(MORE)
18.
DUBLONSKI (CONTD)
(looks at his GPS monitor)
Have a great interview.
Peter glares, acknowledging the threat. He gets out of the
car and slams the door behind him.
INT. NY-TEC OFFICE - WAITING ROOM - DAY
Flat screens and mood lighting. Peter taps his foot
nervously in the high-tech waiting room, adjusting his pants
to make sure the ankle monitor is hidden.
After another moment, a door OPENS --
STEVE FARROW (late 20s, urban chic) stands in the threshold.
STEVE FARROW
Pete?
Peter looks up. Stands. They stare at each for a moment...
And then go in a for a BIG HUG. Steve pats Peter's back.
STEVE FARROW (CONTD)
It's good to see you.
INT. NY-TEC OFFICE - STEVE FARROW'S OFFICE - DAY
Peter leans over Steve's computer as they look at pictures of
a BABY GIRL. It's a nice office -- modern, sleek, with a
tasteful amount of personality and comic book paraphernalia.
STEVE FARROW
She's almost two now, can you
believe it?
PETER
I cannot believe it.
STEVE FARROW
I only get to see her weekends,
usually, but... God, I had to baby-
proof everything. I put all these
little gates in the doorways,
trying to keep her in some rooms,
out of other rooms -- my whole
apartment looks like a maximum
security prison.
PETER
For toddlers.
Peter sits in the chair across the desk.
STEVE FARROW
Exactly, toddler jail. It's -- oh.
Oh shit. I'm sorry --
19.
PETER
It's fine --
STEVE FARROW
No, shit, I wasn't thinking --
PETER
Steve. It's fine.
Awkward beat. Peter looks around the office -- pictures of
Steve on a mountaintop, pictures of Steve parasailing,
pictures of Steve smiling. A good life. A life Peter could
have had.
STEVE FARROW
You look good.
PETER
Yeah, thanks, you too. This is...
STEVE FARROW
Pretty good, huh? There's a gym in
the building, and there's a kitchen
they keep pretty stocked. Good
pay, good benefits.
Peter nods, taking it all in.
PETER
This is owned by the exchange?
STEVE FARROW
No, no, we're just contractors.
They're our biggest client, though.
Peter nods, trying to figure out how to broach what he really
wants to talk about.
PETER
Wow, yeah. So, where do I fit in?
STEVE FARROW
What do you mean?
PETER
You said there's an opening. In
your email.
Steve is suddenly uncomfortable, and Peter clocks it.
STEVE FARROW
Oh. Yeah. Yeah, we could talk
about that.
PETER
I thought that's what we were
talking about.
20.
STEVE FARROW
Yeah. Pete, I -- look, I should
have called. I tried, all right?
I did the best I could.
Peter doesn't like where this is going.
There're serious charges hanging
over you, Pete. I looked. What
the hell were you doing poking
around Langley's servers?
PETER
It wasn't Langley --
(stops, composes himself)
You told me I had a job here if I
wanted it.
STEVE FARROW
We do security for the New York
Stock Exchange. They just can't.
PETER
Can't what? Who's "they"?
STEVE FARROW
They can't hire you. And they, you
know they. There's always a they.
PETER
I bet most of "they" have poked
around worse places than some off-
site CIA computer --
STEVE FARROW
That's not the point --
PETER
What's the point then, partner?
STEVE FARROW
The point is you got caught. I
warned you --
(beat, calmer)
I warned you to back off and you
didn't listen.
And there it is. Peter nods, stands to leave.
Pete. Shit, I'm sorry, okay? Let
me talk to them again, maybe I can
get you a referral. Pete --
But Peter's out the door. Steve taps his knuckles on his
desk. Worried about his friend.
21.
INT. ANNA'S HOUSE - BASEMENT ROOM - NIGHT

Peter sits on the floor of his room, Nightwatch's laptop open
in front of him. An old piece of tape covers the camera
above the monitor.
He's scrolling through CHAT LOGS -- hundreds of hours of text
conversation between Nightwatch and various other people.
After a moment, he opens a program called XChat. It's an
Internet Relay Chat (IRC) client, a kind of anonymous chat
program.
He goes to Recents -- the top result is a room called
"cmptn102713.net".
He types:
/server irc.cmptn102713.net_
He hits ENTER and a CHAT WINDOW pops up. There's only one
other name in the room:
Marchee
Peter stares at the name. He wasn't expecting that. The
cursor blinks as Peter considers whether or not to leave.
Marchee: hey
Text in the main window. Peter looks around his empty room,
types:
Nightwatch: hey
Another pause.
Marchee: I'm excited to finally meet you
Peter considers that -- what kind of relationship does
"Nightwatch" have with this person? He types --
Nightwatch: I still feel like it's not real
But before he hits enter, something nags at him. He alt-tabs
to the chat logs and reads through them --
Sure enough, Nightwatch doesn't capitalize his "i"s. Peter
makes the appropriate edit and hits enter:
Nightwatch: i still feel like it's not real
A beat. Did that work? Another WINDOW POPS UP:
Marchee would like to send an image file.
Do you accept?
22.
Peter hesitates a moment, then hits YES --

A MOSTLY-NUDE WEBCAM SCREENSHOT of a girl pops up. Slim,
pale, dark hair, making an arm bra, cropped from neck to
waist. Sexy, in a voyeuristic sort of way.
She has a half-dozen tattoos, including a SMALL CLUSTER OF
STARS near her collarbone, like a CONSTELLATION. Peter
stares, transfixed.
Marchee: its real
Marchee: ;)
ANNA (O.S.)
Peter?
Peter looks up and sees Anna coming down the stairs. Scrubs.
Exhausted expression. Peter alt-tabs away from the picture
as she approaches. She spots the laptop --
ANNA (CONTD)
This new?
PETER
FBI's.
ANNA
Mike's been asking for one. Says
he needs it.
PETER
He's ten.
Anna shrugs and plops down next to him on the floor.
ANNA
How'd the interview go?
PETER
Good. He's going to call me next
week.
Anna rests her head on his shoulder, closes her eyes. Does
she know he's lying?
ANNA
There was this patient today, this
investment banker's wife. Her
daughter's going to Princeton next
year and they were taking out an
equity loan to pay for it. And I
was thinking, shit. I can't even
afford to fix the car's air
conditioning.
PETER
I'll find a job, Anna.
23.
ANNA
It's so much simpler down here. No
mouths to feed, nobody screaming at
you, nobody to disappoint. Just
this little cave where you can
avoid the rest of the world.
PETER
(re: the laptop)
Whole world's right here.
ANNA
I mean the real world, Pete.
She didn't exactly mean it as a dig, but that's how it lands.
As Anna drifts off to sleep, Peter stares at the GLOWING
SCREEN. He reopens the picture, looking at it...
CUT TO:
INT. HIGH LINE PARK - DAY
Dublonski sits on a bench atop the High Line, nursing a
coffee and looking out across the water. She looks around --
nannies with kids, dogs, etc. The early-morning crowd.
After a moment, she spots Peter walking towards her. She
looks back out over the water as he sits next to her. A beat.
PETER
These aren't townie bank robbers.
They've never met in person. They
don't join forces to commit federal
crimes and then go for a fun
weekend in Atlantic City. Do you
know what hacking really is?
DUBLONSKI
I have a feeling you're about to
enlighten me.
PETER
Hacking is figuring out how systems
work and learning to exploit them.
It's not just stealing data. You
can hack phones, you can hack
locks. You can reprogram batteries
and make them explode.
(beat)
The only reason these guys are
showing up in Atlantic City is
because they think Conficker is
worth risking everything for.
Dublonski considers him a moment -- he seems almost afraid.
24.
DUBLONSKI
So do I.
(beat)
What do you need?
CUT TO:
INT. DISTRICT ATTORNEY'S OFFICE - DAY
A ceremony of sorts. Peter, Dublonski, Zalpowicz, and a PAIR
OF LAWYERS holding court. The PROSECUTOR stands over Peter,
watching him sign a consent form.
PETER (V.O.)
They're going to assume everybody's
working for the cops, so I need to
lose this GPS. I can't wear a
wire. I can't have a tail. There
can't be any indication anything at
all is suspicious.
INT. CYBERCRIME OFFICE - DUBLONSKI'S OFFICE - DAY
Dublonski stands over Rick's shoulder as he works on the
computer. The PRINTER spits out pages, adding to an already-
thick stack.
PETER (V.O.)
You have to erase me from your
system. My picture. My
fingerprints. Any video of me
entering or exiting the federal
building.
The printer finishes. Dublonski picks up the stack and NODS
to Rick. He DELETES Peter's image on the screen --
INT. DISTRICT ATTORNEY'S OFFICE - DAY
Back in the DA's office, the second LAWYER inserts a SPECIAL
KEY into Peter's ANKLE MONITOR and TWISTS -- the LIGHT stops
blinking. He rips off the velcro.
PETER (V.O.)
After the initial meeting every one
of these guys'll go home and trawl
through federal informant files to
see if they recognize any faces.
DUBLONSKI (V.O.)
How would they get access to
confidential files?
Peter rubs his leg, looking up at Dublonski. Freedom. But
what's it going to cost him?
25.
EXT. HIGH LINE PARK - DAY

Back on the park bench with Peter and Dublonski.
PETER
If you really thought the world's
best hackers worked for the
government, we wouldn't be having
this conversation.
Dublonski cracks a smirk. Respect.
DUBLONSKI
We'll drive down in an hour.
Anything else?
PETER
Yeah. I want to meet him.
CUT TO:
INT. METRO FEDERAL PRISON - VISITOR ROOM - DAY
Keith Garrett sits at a metal table, alone in the vast echo
chamber except for a few GUARDS milling in the periphery.
THUNK-SQUEAK... the door opens and Peter enters, alone.
Scopes out the empty room and takes a seat across from Keith.
The two stare at each other for a few moments.
FROM BEHIND A ONE-WAY MIRROR
Dublonski and Rick watch with a LAWYER and a PRISON GUARD.
BACK IN THE ROOM
Peter leans in --
PETER
Do you know who I am?
Keith looks to the one-way glass, doesn't respond.
PETER (CONTD)
Guess that's the point, I'm nobody.
So are you.
Peter adjusts his position in the chair, mimicking Keith's
posture. Dublonski notices the change through the window.
PETER (CONTD)
Do you know how you got caught?
Another steely stare in response.
26.
PETER (CONTD)
You got caught because six days ago
you forgot to route your IP through
Tor at three in the morning and one
person in the whole world noticed.
Doesn't matter what you were doing.
Doesn't matter why. All that
matters is you have to live with
the consequences of that split-
second mistake for the rest of your
life.
Keith stares at this stranger, finally speaks up --
KEITH GARRETT
You're the snitch.
Keith adjusts his position in the chair, and Peter matches.
Dublonski watches Peter transform.
PETER
No.
(glances to mirror, then
back to Keith)
I'm Nightwatch.
PRELAP: rain from inside a car on a highway...
CUT TO:
INT. TOWNCAR / EXT. EXPRESSWAY - DAY
Raining, cold. Peter leans against the window as the HIGH
RISE CASINOS of Atlantic City creep up on the horizon.
INT. CAESARS CASINO - MAIN HALL - DAY
Situated somewhere between the Consumer Electronics Show and
the Exxxotica Porn Expo, the whole convention area is wall-to-
wall with dyed hair, half-naked women, piercings, khaki
shorts, and socks with sandals.
Peter weaves through the throngs of people, dodging drunks
and scanning for something familiar.
Ahead, a CONVENTION-GOER jumps out of a cluster. His VOICE
pierces above the din, nasal and screechy --
CONVENTION-GOER
Fed! I see one! Fed fed fed!
Hes pointing right at Peter, who freezes in place -- hes
been here just a few minutes and has already been made. A
few people stop what theyre doing and turn to look.
PLAINCLOTHES NSA (O.S.)
Got me!
27.
Peter whips around -- standing right behind him is an NSA

AGENT (early 40s, fit, with an ugly haircut). He holds up
his NSA ID triumphantly.
The crowd erupts into a CHEER. Everyone clinks glasses and
takes shots. Two scantily-clad TROPHY GIRLS place a medal
around the convention-goers neck.
Someone playfully slaps the Plainclothes NSA on the back,
leaving a taped Im an NSA Agent! sign, with the NSA
hastily scrawled by hand.
Random screams from the crowd: Dont show him your shit!
Watch your back! Five-Oh!
Peter breathes a sigh of relief and continues wandering.
INT. CAESARS CASINO - HOTEL HALLWAY - DAY
Peter walks down a hall of hotel rooms. A few tourists
wander back and forth.
INT. CAESARS CASINO - GREAT HALL - DAY
Peter comes up the stairs out of DUSK NIGHTCLUB. He looks
around the great hall as tourists and gamblers swirl, getting
his bearings.
INT. CAESARS CASINO - SIDE AREA - DAY
Peter meanders into the less crowded hall, overwhelmed. He
finds a spot against the wall and sits on the floor as
gamblers and convention-goers stream past. He pulls out the
Nightwatch laptop. Opens it.
In XChat he types:
/server irc.cmptn102713.net_
The familiar CHAT WINDOW pops up. This time, nobody's
inside. He opens up MARCHEE'S PICTURE and stares at it,
focusing on the CONSTELLATION TATTOO near her collarbone.
INT. CAESARS CASINO - BUFFET LINE - DAY
Dublonski holds a plate at a buffet table, considering a
SHRIMP COCKTAIL on display.
PLAINCLOTHES NSA (O.S.)
You know they spray on that pink
color in the kitchen.
Dublonski looks up -- across the table is the previously-
identified NSA agent. His name is NORM LYDEKKER. His
plate's piled high with meat and potatoes.
28.
DUBLONSKI
(re: his plate)
Do they spray the green on the
vegetables too?
A playful smile between them. The moment hangs...
SMASH TO:
INT. CAESARS CASINO - LYDEKKER'S SUITE - DAY
The headboard BANGS against the wall as Dublonski and
Lydekker have sex.
LYDEKKER
Yeah, yeah, yeah yeah yeah yeah...
Lydekker finishes and rolls off to one side, panting.
Dublonski's opinion on the experience is inscrutable.
INT. CAESARS CASINO - LYDEKKER'S SHOWER - LATER
Dublonski stands under the stream of water, running her hands
through her hair.
INT. CAESARS CASINO - LYDEKKER'S SUITE - SAME
Lydekker sits on the edge of the bed in a bathrobe, watching
FOOTBALL on TV. Large food service tray off to the side.
LYDEKKER
(yelling)
Chelsea's doing great, by the way.
She took the kids up to the ranch
in Montana, I'm gonna meet them
there next weekend.
On the night stand, Dublonski's Blackberry BUZZES. Lydekker
notices and scoots toward it, continuing --
LYDEKKER (CONTD)
She's been doing this riding
workout thing, she ordered like six
different DVDs.
(the WATER TURNS OFF)
You ever seen those? Supposed to
really help with your stamina on
the... saddle.
Lydekker looks concerned as he reads the text message.
DUBLONSKI (O.S.)
I don't like horses.
Dublonski emerges from the bathroom in a robe and immediately
goes for her clothes on the dresser, ignoring Lydekker. He
looks up from the Blackberry.
29.
LYDEKKER
You lied to me.
DUBLONSKI
Didn't realize a shared love of
equestrian sports was an important
part of our relationship.
Dublonski looks at Lydekker as she slides into her pants.
LYDEKKER
I heard the Bureau was doing their
own investigation into Conficker,
but I thought we were friends.
What's yours is mine and all that.
DUBLONSKI
(matter-of-fact)
You cant look at my texts.
LYDEKKER
Of course I can, I have a higher
security clearance.
DUBLONSKI
Oh thats right, you have the
security clearance, I only have the
phone number to your ranch in
Montana. Do you check Chelseas
messages too?
Lydekkers not amused. Dublonski continues getting dressed.
LYDEKKER
You need to introduce me to your
undercover. We both know the
Bureau's got no business chasing
hackers all over the place.
DUBLONSKI
Is there an alternate definition of
cybercrime Im not familiar with?
She finishes buttoning up her blouse, eyeing the food tray.
Lydekker realizes something --
LYDEKKER
Your birthday's coming up, huh.
Big five-seven. Forced retirement.
Dublonski pulls on her jacket, doesn't respond.
LYDEKKER (CONTD)
This little cyber case won't be
enough for an extension.
(MORE)
30.
LYDEKKER (CONTD)
We're the armpit of law
enforcement, you know that. Hard
drives arent sexy like cocaine
bricks and towel-heads.
She grabs a COOKIE off the tray and turns to go.
DUBLONSKI
Thanks for lunch.
CUT TO:
EXT. DUMPY DINER - EVENING
Establishing. Off the main drag. Not many tourists drive
this far for food this bad.
Peter gets out of a taxi and heads for the entrance.
INT. DUMPY DINER - EVENING
Peter sits across from Dublonski and Rick. Dublonski's
tearing into a club sandwich while Rick pokes at a salad.
Peter stares at the sad hamburger in front of him.
DUBLONSKI
(mouth full)
Go over it with me one more time.
(no response)
Pete?
He snaps out of his trance, looks up.
PETER
I show up at the club and ask for
"Mr. Fujiwara." They bring me
inside. You watch from the
surveillance room, take stills, and
we meet back for the ID.
DUBLONSKI
We'll have eyes on you the whole
time. Oh.
Dublonski gestures to Rick and he slides a SMARTPHONE across
the table.
DUBLONSKI (CONTD)
Eyes and ears.
Peter looks at the phone like its radioactive. Rick
predicts his complaint --
RICK
It's called a roving bug. There's
no software to find even if they
search it.
(MORE)
31.
RICK (CONT'D)
Phone company remotely activates
the mic and we listen in. Just a
regular cellphone.
PETER
You're allowed to do that?
DUBLONSKI
Pete. We're the FBI.
Peter deadpans, dissatisfied with that answer. But he stuffs
the new phone in his pocket. Dublonski reaches across the
table and ruffles his hair --
DUBLONSKI (CONTD)
You're gonna do great.
CUT TO:
INT. DUSK NIGHTCLUB - NIGHT
Strobe lights. Laser beams. Bone-trembling bass. Peter
wanders through the crowd in the massive, oval-shaped club,
searching for something familiar.
He looks up at a DOME CAMERA on the ceiling.
POV DOME CAMERA: Peter stares right at it, a still body in a
sea of movement.
INT. CAESARS CASINO - SURVEILLANCE ROOM - SAME
Dublonski and Rick are settled in chairs, watching Peter on
an array of monitors. A SURVEILLANCE TECH sits nearby.
A DULL MURMUR comes from a speaker -- Peter's roving bug
picking up the ambient noise.
SURVEILLANCE TECH
Good picture, huh? Upgraded the
whole system to HD last year. This
is infrared 1080i.
The thumping bass of the club is just a tinny roar inside the
surveillance room.
DUBLONSKI
Fascinating.
(to Rick, re: sound)
Can we filter that out?
RICK
Not in real time.
Not what Dublonski wanted to hear.
32.
INT. DUSK NIGHTCLUB - BAR - NIGHT

Pete approaches the bar, squeezing between ED HARDY BROS and
SARAN-WRAPPED WOMEN. A FEMALE BARTENDER notices and comes
over. She has to yell over the bass --
FEMALE BARTENDER
Help you sweetie?
PETER
I'm looking for Mr. Fujiwara.
FEMALE BARTENDER
(cups her hand to her ear)
What?
PETER
Fujiwara!
She looks at him for a moment -- clearly still not
understanding -- and then moves off to serve someone else.
PETER (CONTD)
No, I --
As the bartender walks away, he sees --
Another WOMAN, a couple yards away. Slim, pale, dark hair.
CONSTELLATION TATTOO on her neck. Staring directly at him.
MARCHEE.
Dublonski concentrates on Peter's image on the screen. The
resolution is good enough to see his shocked expression.
DUBLONSKI
What's he looking at?
INT. DUSK NIGHTCLUB - BAR - SAME
Peter looks around to make sure she's actually looking at
him. She doesn't break eye contact. It's intense.
Dublonski gets close to the monitor --
DUBLONSKI
It's either this man or this woman.
(to Rick, re: speaker)
Turn that up.
(to Tech)
Are you recording this?
33.
Rick turns up the speaker, but they can't hear anything over
the TINNY HOUSE MUSIC. It's drowning everything else out.
While Peter's still processing who he's seeing, Marchee
approaches, grabs the scruff of his neck, and leans close to
his ear, whispering in the throbbing room --
MARCHEE
Do you know who I am?
PETER
Yes.
She deftly reaches into his pocket and removes his NEW
SMARTPHONE. Peter doesnt notice. Marchee smiles, sexy.
MARCHEE
Are you sure?
She pulls back and looks at him. He's a deer in the
headlights. She smiles, flirty, and then turns around and
DISAPPEARS into the crowd.
Peter's mind whirls. After a beat, he goes after her --
Back in the surveillance room --
RICK
He's following her.
DUBLONSKI
After that I'd follow her too.
ON THE MONITOR: Peter is carving his way through the crowd, a
few paces behind Marchee --
DUBLONSKI (CONTD)
(to Tech)
Is there a better angle?
The Tech cycles another monitor, flipping between cameras,
but there are too many people in the club. It's too
disorienting.
Peter follows Marchee through the crowd, a few arm-lengths
behind. He struggles to keep her in sight through the mass
of bodies as the music throbs around him.
Every once in a while she looks back over her shoulder.
Smirks, coy. Enjoying the chase.
34.

Rick's watching the main monitor as Dublonski struggles to
find him in another angle --
RICK
He's almost off the screen --
DUBLONSKI
(to Tech)
Where's he going?
SURVEILLANCE TECH
Looks like the private rooms.
DUBLONSKI
(scanning monitors)
Show me those.
The Tech hesitates. Dublonski SNAPS at him, impatient.
DUBLONSKI (CONTD)
Hey. Now.
SURVEILLANCE TECH
There's no cameras back there.
ON THE SCREEN: Peter disappears off the edge. Dublonski
pulls away and looks at the Tech in disbelief.
DUBLONSKI
You told me every inch of this
place was covered.
SURVEILLANCE TECH
Back rooms are for high roller
clients, they don't want any --
look, I dont make policy.
Dublonski glares at him --
DUBLONSKI
Better hope the sound's good.
INT. DUSK NIGHTCLUB - BACK HALLWAY - NIGHT
Dark, moody. Muffled bass thumps through the walls. Deserted
save for stray glimpses of HIGH ROLLERS and PRICEY ESCORTS.
Peter jogs to catch up to Marchee, who's scrolling through
his SMARTPHONE.
PETER
How did you --
(sees smartphone, panics)
Hey --
35.
Peter reaches for it, adrenaline spiking through the roof --

Marchee SWINGS AROUND and THROWS Peter against the wall,
catching him by surprise --
MARCHEE
Why would you yell that in there.
PETER
That's what I was supposed to say --
MARCHEE
Its not amateur hour. You don't
know who's watching.
PETER
Who the hell else would know what
Fujiwara means?
MARCHEE
I don't know. That's the point.
She releases him, holds up the smartphone --
MARCHEE (CONTD)
Crown said no phones. No names, no
birthdays, no hometowns, no
identifying information. I'm
Marchee, you're Nightwatch. That's
all I want to know.
PETER
How do you know I'm Nightwatch?
She pulls the battery out --
Rick and the Dublonski hear the speaker go DEAD. Shit. No
video, no audio. Dublonski thinks for a moment.
DUBLONSKI
Does he still have his old phone?
RICK
What?
DUBLONSKI
The other phone, the silver one.
Can we get a tap on that number?
Ricks already dialing the appropriate people --
INT. DUSK NIGHTCLUB - BACK HALLWAY - SAME
Marchee puts the disassembled phone next to a plant on a
built-in shelf.
36.
PETER
Is Crown here?
MARCHEE
Not yet.
PETER
Then why do you care what he said?
Marchee appreciates the balls of this, but isn't swayed.
MARCHEE
Just pick it up when were done.
She turns and walks down the hall.
Peter reaches in to his pocket to remove his OLD CELLPHONE,
but decides to leave it there. He takes off after her.
Rick types a new code into the laptop connected to the
speaker, and the SOUND COMES BACK IN. He turns to Dublonski.
RICK
They catch him with that phone and
this is all over.
Dublonski listens to the swishing sounds of Peter walking
down a hallway, doesn't respond. She knows.
INT. DUSK NIGHTCLUB - PRIVATE ROOM - NIGHT
Marchee opens the door to the lavishly-appointed room, Peter
right behind. Three men sit in lounge chairs, talking --
TEKNINE
-- because I ain't hanging around
until the feds show up and charge
us with conspiracy --
Facing away and speaking is TEKNINE (20s), tall and wiry, with
sloppily-cut GRAY HAIR and rapid-fire speech. Looks one
sleepless night away from full-blown meth addict.
Opposite him are two older men, ELIX (late 40s) and RAMSEY
(30s, black). Elix's designer suit contrasts sharply with his
bushy beard, and Ramsey's all muscles, malice, and quiet calm.
Elix and Ramsey look past Teknine to notice Marchee and Peter
come through the door.
TEKNINE (CONTD)
-- what?
(turns, sees Peter)
Fucking finally. You check him?
37.
MARCHEE
Yeah I checked him.
(to Peter)
This is Teknine, past him is Profs.
Peter looks at each man sitting behind Teknine --
PETER
Which one?
Elix pipes up and stands --
ELIX
Both of us.
He approaches Peter with his hand extended. Peter reaches up
to shake, realizing he was touching his OLD CELLPHONE through
his pocket.
ELIX (CONTD)
You can call me Elix. This is my
associate Ramsey.
Ramsey nods a greeting from the lounge chair. Elix can see
Peter's still confused --
ELIX (CONTD)
We work as a team.
Peter looks around the room -- no one else in here.
PETER
Guess I'm not late after all.
ELIX
The very problem we were
discussing. To me it seems
impolite to call a meeting and be
the last to arrive.
TEKNINE
To me it seems like a fucking sting
operation --
RING-RING -- a cell phone. Everyone freezes as Peter's
adrenaline skyrockets --
TEKNINE (CONTD)
Who the fuck has a cell phone?
Teknine glares at Peter, who stares back helplessly. Marchee
comes to his defense --
MARCHEE
It isn't his.
RING-RING. Ramsey nods with his head --
38.
RAMSEY
It's over there.
Teknine tears across the room. He reaches under a lounge
chair and emerges with a CELLPHONE. Unknown number.
Peter tries to control his relief --
RING-RING. Still going. Everyone stares.
PETER
Are you going to answer it?
Teknine tosses the phone to Peter --
TEKNINE
Fuck no.
Peter awkwardly catches the RINGING phone and answers --
PETER
Hello?
MODULATED VOICE (PHONE)
Put the phone on speaker.
The voice is pitch-shifted enough to make it impossible to
tell who's calling. Doesn't matter -- Peter already knows.
Peter hits the speakerphone button, uncomfortable with so
many eyes on him.
MODULATED VOICE (PHONE) (CONTD)
Hello everyone, this is Crown. As
you no doubt have gathered, I wont
be joining you this evening.
The four hackers look around the room at each other.
Instead I have some information for
you. Stored on this phone is a
preliminary dox on a man staying in
this hotel with access to
Confickers primary command server.
More looks around the room -- did anyone know this?
The server is activated by one of
sixteen combinations of user names
and passkeys, and this man carries
on his person the master table for
every unique login. He leaves the
convention tomorrow evening, so we
only have until then to liberate it
from his possession.
(MORE)
39.

Once you upload the logins to the
IP address provided, I'll contact
you for the next phase.
CLICK. Line's dead. They all stare at the phone.
BEEP-BEEP -- the phone lights up with a text message:
UPLOAD TO 2001:db8:0:2093:1:427:2:1
BEEP BEEP -- another message, this time a DRIVER'S LICENSE-
STYLE PHOTO of a MAN. Blonde. Vaguely handsome. Crooked
nose, like he broke it as a child and it never healed.
TEKNINE
How's he fucking know all that?
MARCHEE
Tek --
TEKNINE
No fuck this, I'm not buying this
Mission Impossible bullshit. Feels
like feds walking us into a trap.
MARCHEE
You heard Crown --
TEKNINE
I heard some voice on some phone.
That's it.
Elix is lost in thought. Ramsey speaks to no one in
particular, philosophical --
RAMSEY
Until half an hour ago we were all
just pixels on a screen.
TEKNINE
That's exactly fucking right. I
don't know any of you, I don't know
what Crown knows or how he knows
it, and all the shit I don't know
is making me very fucking
uncomfortable.
RAMSEY
Confickers worth a lot of money.
MARCHEE
The data's worth more. We'd have
access to all the infected machines.
ELIX
More than access.
40.
Everyone turns to Elix, who snaps out of his reverie.

ELIX (CONTD)
We would have control. With the
flick of a switch we'd command the
most powerful network humanity has
ever seen. And if the five of us
can wrest the logins from this
individual in a single day, I'm
guessing others could as well.
Elix looks at Peter, holding the phone with the pertinent
information on this mysterious man.
ELIX (CONTD)
Why shouldnt we do it first?
Looks around the room. Peter conceals his unease amidst the
general agreement from the rest. He looks at the Blonde
Mans photo again, then passes the phone to Elix.
DUBLONSKI (PRELAP)
Youre telling me the login
information for the biggest botnet
in human history is stored on a
keychain.
CUT TO:
INT. CAESARS CASINO - PETERS ROOM - NIGHT
Dublonski sits on one of the rooms two beds, two dozen
Sharpie-circled SURVEILLANCE PHOTOS from the nightclub on
either side of her. Peter stands at the mini-bar, rifling
through the contents. Hes been debriefing her.
PETER
Its a 64-bit word salted hash
encryption. Youd have to be some
kind of mutant to memorize it.
DUBLONSKI
Still, a snatch and grab on a thumb
drive feels low tech for these guys.
PETER
Hacking is finding the simplest
solution to a problem. Sometimes
you just need the right password.
Peter holds up two MINI VODKA BOTTLES. Dublonski shrugs, and
he tosses her one.
DUBLONSKI
Once you have the credentials, then
what happens?
41.
Dublonski takes a pull from the small bottle.

PETER
Then we log in to the server and
change them. His copy cant be the
only copy. As soon as he learns
his master keys missing the first
thing he does is change the locks.
We have to beat him to it.
DUBLONSKI
Howd Crown find out this guy runs
Conficker in the first place?
PETER
I dont know. He just gave us the
picture, the name, and the room
number. Which is more than you and
your crack cybercrime team found,
by the way. FBI pay for Kit Kats?
Peter emerges with candy from the mini bar. Dublonski
doesnt respond, just takes another sip. She looks at the
bottle as if it gave her an idea.
DUBLONSKI
Do Marchee and Nightwatch have a
relationship?
Peter looks up, surprised at the question --
DUBLONSKI (CONTD)
Because if she knows more about
Keith than we think she does --
PETER
She doesnt.
Peters defensive tone isnt lost on her. Or himself.
PETER (CONTD)
Im not like them.
DUBLONSKI
You were arrested for hijacking a
Predator drone.
PETER
Thats not what happened --
DUBLONSKI
You uploaded a virus to the Ground
Control Station. So youre right,
you technically hijacked all the
Predator drones.
Pointed stare.
42.
PETER
It was keylogging software. A
lieutenant on base wanted to spy on
his wife because he thought she was
cheating on him, and he infected
his flight terminal by mistake.
But its easier to string up the
guy who wrote the code than admit
the biggest security flaw on a
military base running highly
classified and almost certainly
illegal bombing missions is the
stupidity of its own employees.
Im guessing that part didnt make
it into the file.
Dublonski considers him a long beat -- hes right, that
wasnt in the file. She slips off her shoes and lifts her
legs on to the bed.
DUBLONSKI
Get some sleep. Big day tomorrow.
PETER
FBI doesnt pay for your own room?
DUBLONSKI
Of course they do.
She clicks off the light, rolls over. Off Peter, shaking his
head, incredulous --
CUT TO:
INT. CAESARS CASINO - PETERS ROOM - LATER
Lights out. Peter and Dublonski both sleep in their
respective beds. Dublonskis still wearing her pant-suit,
covers balled up around her.
INT. CAESARS CASINO - CHECK IN COUNTER - NIGHT
The casino is still buzzing with night owls, but theres only
one CLERK behind the desk. A long row of check-in computers,
but most are off. The clerks busy looking at her phone.
IN THE FOREGROUND: a computer lights up. Clerk doesnt notice.
The CURSOR MOVES on its own, looking up a room record...
The cursor stops on KEITH GARRETT -- Room 1607.
INT. CAESARS CASINO - UPSTAIRS HALLWAY - NIGHT
DING! The elevator doors open and SOMEONE with a BACKPACK
steps out, in one hand a STACK OF PLASTIC CARDS and in the
other something that looks like a PORTABLE CARD READER.
43.
The figure walks down the hall and stops in front of a door.
Hits a few buttons on the reader and SWIPES a card through --
BEEEEEP. Hands slide the card into the ELECTRIC DOOR LOCK.
BZZT. Red light. No good. The hands hit a few more buttons
on the reader and swipe another card --
INT. CAESARS CASINO - PETERS ROOM - NIGHT
Muffled BZZT through the door. Peter blinks awake in the
dark room, looks over to the other bed -- Dublonski is still
sound asleep.
He sits up, listens...
BZZT -- another muffled buzz. He gets out of bed and
approaches the door.
PETER
Hello?
Dublonski wakes at the sound of Peters voice --
BING! Peter realizes whats happening a half-second too
late. The door in front of him swings open, revealing --
Marchee. Shes surprised to see Peter so close, illuminated
from the light in the hallway.
MARCHEE
Oh. Hi.
PETER
What are you doing here?
MARCHEE
Are you busy?
PETER
No -- what? You cant just break
in to my room --
He throws a quick look behind him to see if Dublonski is
visible -- she isnt. But Marchee catches his glance.
MARCHEE
Is somebody in here? Whos in here?
Marchee pushes past Peter into the bedroom -- and Dublonski
is no where to be seen. But both beds are unmade. Peter
stands behind her, helpless.
Marchee walks deeper into the room, puzzled. She spots a
BARE FOOT on the floor, peeking out from behind the bed.
Marchee walks around the side... revealing Dublonski,
stripped to her underwear, face down.
44.
Marchee turns back to Peter, alarmed --

PETER
Its not -- um --
Dublonski suddenly BOLTS UP, startling both of them.
DUBLONSKI
Whathefuck --
(sees Marchee, squints)
Keithy? Wheres Keithy.
Dublonski doubles over, holding her head in faux-pain --
DUBLONSKI (CONTD)
Ohhhh...
MARCHEE
Maam, are you all right?
Dublonski looks around, blinking fake drunk from her eyes.
DUBLONSKI
Did you see my clothes? Theyre
right...
(spinning, swaying)
I haddem earlier. They were
right... on me.
Marchee looks at Peter, horrified --
MARCHEE
Im sorry.
She rushes out of the room, door closing behind her.
PETER
(hisses)
What the fuck was that?
DUBLONSKI
At least she didnt see the badge.
Peter turns and runs out the door --
INT. CAESARS CASINO - UPSTAIRS HALLWAY - NIGHT
Peter catches up with Marchee at the elevator. Shes hitting
the call button over and over, willing the elevator to come.
PETER
Marchee wait --
MARCHEE
I shouldnt have done that.
45.
PETER
No. Probably not.
Marchee cant look at him, but hes not leaving. The
elevator still hasnt arrived.
MARCHEE
Was that a...
PETER
No, god, no. She was just drunk at
the bar, I didnt -- nothing happened.
MARCHEE
Okay.
Clearly Marchee doesnt believe him.
PETER
Nothing happened. She just -- she
wouldnt tell me where she was
staying and I couldnt just... let
her...
He trails off. Its a long wait until --
DING! The elevator doors open and Marchee jumps inside. She
finally looks at him -- hurt. Peter knows he cant just let
her leave. At the last possible second, he jumps in the
elevator --
INT. CAESARS CASINO - ELEVATOR - CONTINUOUS
-- and the doors close. Marchees trapped with him now. She
stares straight ahead, doing her best to ignore him.
PETER
Are you not talking to me now?
MARCHEE
Sometimes people just dont match
the version you had in your head.
I shouldnt have come.
PETER
Why did you?
Marchee doesnt answer. Peter considers her a moment, then
hits the EMERGENCY BUTTON. The elevator JERKS to a stop.
MARCHEE
What are you doing?
Peter crouches and slips his fingers around a PANEL under the
elevator buttons.
46.
PETER
Let me see your laptop.
MARCHEE
No.
Peter PRIES OFF the panel, exposing the guts of the elevator.
He turns and looks up to her.
PETER
You want to be stuck in here until
someone comes to get us?
MARCHEE
Just hit the button again. Itll go.
PETER
Come on. We can have more fun than
that.
He smiles, charming. Against her better judgement, Marchee
hands over her messenger bag.
INT. CAESARS CASINO - SURVEILLANCE ROOM - NIGHT
A SUPERVISOR walks over to the Surveillance Tech, whos
watching the monitor array with glassy eyes.
SUPERVISOR
How longs that been blinking?
He points to an ELECTRICAL DIAGRAM in front of him, where a
RED LIGHT in one of the elevator shafts is flashing.
SURVEILLANCE TECH
I, uh... must have just started.
SUPERVISOR
(skeptical)
Yeah. Show me elevator four.
The Tech types and --
AN EMPTY ELEVATOR pops up. The Supervisor leans in. The
image looks... frozen. Like a still frame.
SUPERVISOR (CONTD)
What the...
INT. CAESARS CASINO - ELEVATOR - SAME
Peter looks up at the SECURITY CAMERA on the ceiling, then
returns to his work. He has Marchees laptop plugged
directly in to the elevator.
After a few seconds of typing he looks back up at Marchee.
47.
PETER
You should hold on to something.
MARCHEE
I think Ill be fine.
PETER
I would really recommend it.
MARCHEE
Noted, thank you.
Peter chuckles to himself and holds the laptop tight.
PETER
All right then.
He hits ENTER and --
The elevator DROPS LIKE A STONE, vaulting them both a few
inches off the ground. Marchee SCREAMS --
The ELEVATOR GRAPHIC on the diagram DROPS RAPIDLY --
INT. CAESARS CASINO - ELEVATOR - SAME
Peter types again and the elevator slows to a stop. Marchee
calms down, panting. Exhilarated.
PETER
Told you we could have more fun.
Marchee looks at him, smirk growing on her face.
MARCHEE
Want to see something better?
Off Peter, pleased --
CUT TO:
EXT. PARKING GARAGE - NIGHT
Gargantuan self-parking monstrosity. Peter and Marchee
wander the aisles packed with thousands of cars with out-of-
state plates, footsteps CLACKING on the concrete.
PETER
What was I supposed to say?
MARCHEE
I dont know, maybe No, stranger,
you cant sleep in my room. Like
a normal person.
48.
PETER
That would necessitate being a
normal person.
Marchee side-eyes him.
MARCHEE
What kind of person are you?
PETER
Feigning ignorance is unbecoming.
MARCHEE
Everyone lies on the internet. Who
they are, what they do. How they
feel. Ah, there.
Marchee gestures to a car on Peters side of the aisle -- a
new BLACK BMW.
She pulls a STRANGE KEY from her backpack, INSERTS it into
the door, and CLICKS the button without turning. The car
unlocks with a BEEP and she hops in the driver's seat.
PETER
But you sent me a real picture.
She ignores him. He walks to the passenger side --
INT. BMW / EXT. PARKING GARAGE - CONTINUOUS
Peter falls into the passenger seat next to her. She's
pulling a NETBOOK and CABLES out of her backpack.
PETER
The picture you sent was really
you, so what are you lying about?
MARCHEE
What are you lying about?
A hesitation --
PETER
Thats not an answer at all.
Marchee reaches under the steering wheel and removes a PANEL.
She plugs a CABLE into the exposed electronics as Peter goes
on the offensive --
PETER (CONTD)
People lie face to face too. The
medium doesn't change the message.
49.
MARCHEE
The medium is context, and context
changes everything.
Marchee opens the netbook and starts typing something. Peter
watches her, unsure of what shes doing.
MARCHEE (CONTD)
Are you ready?
PETER
I dont know what Im supposed to
be ready for.
Marchee types into a COMMAND PROMPT WINDOW and hits ENTER
dramatically. The BMW engine ROARS to life. Marchee beams
with pride, and Peter finally realizes what's going on as she
hands him the netbook.
PETER (CONTD)
You're stealing this car.
MARCHEE
Were stealing this car. Gear
slash reverse. Type.
Peter stares at her, suddenly in over his head. She waits
for him, excited, oblivious to his discomfort.
He looks down at the netbook. The CURSOR blinks back at him.
Peter still hesitates. Marchee gives him a reassuring nod,
and he types "GEAR/REVERSE" into the command prompt window
and hits ENTER.
ON THE DASHBOARD, the GEAR INDICATOR moves from P to R.
Whoa.
MARCHEE (CONTD)
Now hit the back arrow.
PETER
How did you do this?
MARCHEE
Back arrow.
Peter complies, cautiously, and the car LURCHES BACKWARD.
Marchee's overjoyed --
MARCHEE (CONTD)
There you go. Now the left arrow.
Peter hits the LEFT ARROW and watches the STEERING WHEEL TURN
ITSELF, right in front of her.
Holy shit.
50.
EXT. PARKING GARAGE - CONTINUOUS

The BMW jerks backward from the parking spot again, then
stops just as suddenly. Then another stutter, pulling out of
the space --
INT. BMW / EXT. PARKING GARAGE - CONTINUOUS
PETER
I dont understand how this is
possible.
MARCHEE
New cars are just six computers.
Engine, brakes, power steering...
everythings drive-by-wire.
Marchee reaches over and buckles Peters seat belt with the
lap belt OVER HIS WRISTS. Pinned to the netbook in his lap.
She YANKS the strap so it LOCKS --
PETER
Hey --
MARCHEE
Each floor you get down without
hitting anything, you get a point.
Every time you crash or bump or
scrape something, I get a point.
Five floors, five possible points.
Peter stares at her for a moment.
PETER
Why?
MARCHEE
(broad grin)
Not an interesting question. Gear
slash drive. Go.
Peter understands: why isnt the point. He types and the
TRANSMISSION SHIFTS AGAIN. He taps the UP and RIGHT arrows
and the car lurches forward...
EXT. PARKING GARAGE - RAMP - NIGHT
The BMW lurches down a ramp, speeding up and slowing down,
rounding the corner...
INT. BMW / EXT. PARKING GARAGE - SAME
Marchee watches Peter concentrate. Hes trying not to pick
up too much speed, and as a result theyre both jerking back
and forth in their seats. Marchees not impressed, but
technically Peter makes it to the next floor.
51.
PETER
First point for me.
MARCHEE
Minimum speed of ten miles an hour
or you lose the rest by default.
PETER
No no no, you didnt say --
Without hesitation, Marchee leans over and TYPES. The car
LURCHES FASTER --
PETER (CONTD)
Whoa, uh -- hey --
The BMW drifts to the left. Peter types but overcorrects,
the wheel turning too much to the right --
MARCHEE
No braking --
Hes coming up on an EXPENSIVE CAR at the end of the row,
just before the next ramp --
Peter TYPES FRANTICALLY and the wheels spins back to the
left. TIRES SQUEAL as the BMW speeds down the ramp, but it
doesnt have the proper angle and THUNK --
The car hits the wall and STOPS. They werent going fast
enough to cause much damage, but its still an accident.
Shit.
Marchee reaches over and clicks his seatbelt, which slides
back into place -- releasing his hands.
MARCHEE (CONTD)
One-one.
CUT TO:
INT. BMW / EXT. PARKING GARAGE - NIGHT
The (slightly damaged) BMW zooms through the garage,
squealing around corners and accelerating down ramps.
They're laughing, pointing, having fun.
A PEDESTRIAN jumps out of the way as the car flies around a
blind corner --
INT. BMW / EXT. PARKING GARAGE - NIGHT
The BMW squeals around another corner and approaches the exit
at the bottom. Peter hits keys to stop the car at the
threshold, grinning ear to ear.
52.
PETER
And... winner.
Marchee's not happy about it. The competitive streak runs
deep. Peter sees her pouting, asks --
PETER (CONTD)
Whyd you get involved with Crown?
MARCHEE
Same as you. Money.
PETER
Im not here for the money.
MARCHEE
Neither am I.
(gets an idea)
Want to try your luck outside?
PETER
No no no. I made it to the bottom
and thats what you said.
Marchee looks at him, gives him a crooked smile, earnest --
MARCHEE
You're not having fun? We could
bet on it.
PETER
Bet what? I already won.
Marchee looks at him for a moment, then reaches down and
STRIPS OFF HER SHIRT.
MARCHEE
I believe in second chances.
He looks at her, stunned.
PETER
This is not a good idea.
He hits the UP and RIGHT ARROWS and the BMW squeals out of
the garage --
INT. BMW / EXT. CAESARS CASINO DRIVEWAY - CONTINUOUS
-- and out into the wet night. An incoming car HONKS AND
SWERVES as Peter struggles to get the BMW into a lane.
MARCHEE
Easy tiger -- there you go. Cars
move out here.
53.
PETER
I see the cars, thank you.
Peter makes another right on to --
INT. BMW / EXT. ATLANTIC AVE - CONTINUOUS
The main drag. Peter changes lanes, the BMW flying through
traffic on Atlantic. Marchee PUTS HER HAND ON HIS KNEE and
he notices, hesitating before weaving around a BUS, still
going too fast.
Peter levels out, Marchee's hand still on his leg. Nervous,
he says the first thing that pops into his head --
PETER
How do you bypass the controls?
MARCHEE
Thats the best part. There's no
auth protocol, so you can either
just plug in or --
She reaches through the seats and rummages through her
backpack. She BUMPS the steering wheel as Peter tries to
drive --
PETER
Hey, careful --
MARCHEE
The idiots left an exploit in the
radio receiver.
Marchee comes back with a small POLICE-ISSUE RADIO.
PETER
(looking at her CB)
Is that a police scanner? Where
did you get --
MARCHEE
Watch it!
Peter looks back to see a CAR PULL OUT right in front of him.
He swerves around, prompting a BARRAGE OF HONKS from a CAB he
cut off. Peter speeds up --
PETER
Shit --
He changes lanes again to avoid a car in front of him --
MARCHEE
The light the light --
54.
The STOPLIGHT up ahead just turned YELLOW. Peter jams on the

DOWN ARROW, but the cars going too fast on the wet street --
PETER
Shit shit shit --
The TIRES LOCK and the BMW starts drifting sideways. Marchee
tries to yank on the wheel but it wont budge --
The traffic light turns RED, but the BMWs skidding
uncontrollably toward the intersection --
Cross traffic starts moving. Peters a deer in the
headlights. Marchee grabs the laptop --
CARS HONK AND SWERVE as the Beemer skids into the
intersection --
Marchee types a command and the BRAKES DISENGAGE, wheels
suddenly spinning as the BMW LURCHES FORWARD, effectively
having made a left-hand turn.
INT. BMW / EXT. SMALLER STREET - CONTINUOUS
They continue down the street, panting. Marchee tosses the
netbook back on Peter's lap and takes the wheel.
PETER
Fuck.
MARCHEE
Yeah.
WOOP-WOOP. Lights. Peter turns -- an ATLANTIC CITY POLICE
CRUISER.
PETER
Fuck.
They drive in silence for another moment as the red and blue
lights wash over them. Marchees breathing starts to get
faster. Panicked.
Peter looks over his shoulder again at the flashing cruiser,
then grabs the CB radio from the floor. He flicks it on,
scanning frequencies until --
POLICE (RADIO)
-- six eight one, repeat, I need a
10-14. Its a black beemer.
Peter thinks for a moment, then looks out the window --
PETER
What's that say on the sign?
55.
MARCHEE
What's what say?
Peter reaches into his pocket and comes up with his OLD
SILVER CELLPHONE. He dials...
PETER
The address, what's the address?
The line picks up --
OPERATOR (PHONE) MARCHEE
Nine-one-one emergency (squinting)
response. One-eighty north
Pennsylvania.
Peter suddenly screams, startling Marchee --
PETER (CONTD)
Fuck he's got a gun! He's got
Steve he's gonna kill him!
OPERATOR (PHONE)
Sir? Sir what's your address?
PETER
One-eighty north Penn, please god
he's gonna shoot --
Peter hangs up the phone. Marchee looks at him like he's
insane. A beat, then:
DISPATCH (RADIO)
All units please respond to one-
eighty north Pennsylvania, possible
ten-fifty-nine in progress. Repeat
all units please respond.
As Peter concentrates on the radio, Marchee notices the cell
phone in his hands -- its SILVER. Different. Not the black
one she saw before. She realizes he has another cellphone.
POLICE (RADIO)
Copy dispatch, fifty four
responding.
Behind them, the cruiser peels off and screams into a nearby
parking lot.
Marchee looks at the SILVER PHONE in Peters hand. Peter
looks back at the cruiser screeching into the parking lot,
oblivious to his error.
CUT TO:
56.
EXT. SIDE ROAD - DAWN

The BMW pulls to a stop on a deserted side road.
INT. BMW / EXT. SIDE ROAD - DAWN
Marchee turns off the car and pulls her shirt back on.
MARCHEE
Give it to me.
PETER
What?
MARCHEE
Give me that fucking phone.
Peter looks down and sees the SILVER PHONE in his lap. Shit.
He hands it over.
She scrolls through the RECENT CALLS, sees names like "Anna"
and some 212 numbers. One has been called a few times. She
dials, puts the phone up to her ear.
It rings. Peter watches, nervous.
FEMALE VOICE (PHONE)
(Chinese accent)
Great Wall Chinese can I help you?
Not what Marchee was expecting. She recovers --
MARCHEE
Yeah, hi, I'd like to make an order
for delivery.
FEMALE VOICE (PHONE)
Of course can I get your phone
number?
Marchee hangs up --
INT. CAESARS CASINO - DUBLONSKI'S ROOM - SAME
Dublonski holds her phone out in the air. Rick sits at the
desk, the surveillance equipment set up there. They both
look exhausted from the long night of listening in.
DUBLONSKI
Was that racist?
RICK
Little bit.
57.
INT. BMW / EXT. SIDE ROAD - SAME

Marchee thinks for a moment, makes a decision. She removes
the back from the phone and TAKES OUT THE BATTERY. She looks
at the dead phone for another moment, then --
SMASHES it on the steering wheel. SMASHES it again. And
again and again until it's a plastic mess and she's panting.
She hands Peter back the destroyed phone. He looks at her,
concerned. Shes afraid.
MARCHEE
(as if it's an
explanation)
Police can trace the number from
the 9-1-1 call.
PETER
I know.
Marchee sits in silence for a moment.
MARCHEE
Give me your other phone. The
black one.
Peter digs it out of his pocket and hands it over without
protest. Marchee rolls down the window and TOSSES it out.
Dublonski and Rick hear the phone CLATTER ON THE PAVEMENT.
Not good. They grab their jackets and run out --
INT. BMW / EXT SIDE ROAD - DAWN
Marchee rolls the window back up. Peters trying to figure
out how to explain this situation when --
MARCHEE
Did he put you up to this?
PETER
Who? What?
Nervous, Marchee begins grabbing her things from the car.
PETER (CONTD)
Marchee what are you talking about?
Marchee whips to Peter, suddenly stern --
MARCHEE
I need to find Crown. Okay? I
need to meet him.
(MORE)
58.
MARCHEE (CONT'D)
So if that other phone ever comes
up again, Ive never heard of it.
(looks around)
I never saw you after the meeting.
She gets out of the car and takes off running. Peter watches
her go.
CUT TO:
EXT. SIDE ROAD - MORNING
Peter leans against the back of the BMW as a TOWNCAR skids to
a stop. Dublonski and Rick hop out, guns ready. Marchees
nowhere in sight.
Dublonski and Rick see Peters safe and lower their weapons.
DUBLONSKI
What happened?
INT. DUMPY DINER - MORNING
Dublonski and Rick sit across a booth from Peter. They're
the only people inside, save for a DISINTERESTED WAITRESS
mainlining coffee behind the cash register.
Rick and Peter are both appealing to Dublonski --
RICK
We have to call it off.
PETER
She doesnt think Im a Fed --
RICK
What the hell else could she think?
PETER
I dont know. She was scared. She
was scared of Crown.
RICK
Thats not our problem. We can
arrest four hackers right now plus
the Conficker controller.
Peter scoffs --
PETER
You wont get the Conficker logins.
Or Crown.
RICK
Who gives a shit about Crown? Hes
probably some Hungarian teenager,
thats why hes not here.
59.
PETER
Marchee was scared. Ive never
seen her like that.
DUBLONSKI
How much have you seen her?
Peter and Rick are both surprised by Dublonskis entry into
the conversation.
PETER
What?
DUBLONSKI
I had to pull out my big book of
scary threats to get you down here,
and now were giving you an out and
you dont want it.
PETER
The situation changed.
Dublonski knows exactly what he means.
DUBLONSKI
Whats your big idea?
PETER
Crown said hed be in touch again
once we have the logins. You keep me
undercover for a couple weeks and I
can lead you to him.
Dublonski nods, considering.
DUBLONSKI
Ricks right. I dont give a shit
about Crown right now.
(turns to Rick)
But I do need to shut down
Conficker. So we stay the course
and round everybody up right after
the logins are secure.
PETER
This is the most myopic bullshit --
Dublonski loses her patience, hisses --
DUBLONSKI
Hey. We had an arrangement. The
fact this hacker girl swells your
nether parts doesnt change the
fact that you do what I say or
theres 30 years of solitude
waiting for you in New York.
(MORE)
60.
DUBLONSKI (CONT'D)
(standing)
Come on. Youre going to be late.
Off Peter, a sinking feeling in his stomach --
CUT TO:
A LAPTOPS OPENED. FINGERS CLICK OVER KEYS. LIGHTS BLINK.
FANS WHIR.
PETER (V.O.)
This is how you hack an ATM.
INT. CAESARS CASINO - GAMBLING FLOOR - DAY
Peter and Marchee walk through the crowded gambling floor,
weaving through COCKTAIL WAITRESSES and DRUNK GAMBLERS.
PETER (V.O.)
First thing to know is there are 62
companies that produce ATMs in the
United States, and each make and
model uses a slightly different
interface and operating system. So
you have to know exactly which
machine youre trying to crack if
you expect to have any success.
Peter and Marchee approach a STANDALONE ATM next to a pillar.
Peter uses one hand to shade his eyes, and covers the BUILT-
IN CAMERA with the other.
Marchee kneels next to the machine like shes tying her shoe.
PETER (V.O.)
ATM software has barely any
security, authentication protocols,
or remove overrides. If you have a
decent understanding of OS
mechanics, a couple hours with J-
TAG should be enough to code
something thatll do just fine.
Marchee takes a BOBBY PIN and POPS OPEN a panel on the side
of the ATM, just slightly, making sure to cover what shes
doing from the cameras overhead.
She plugs in a USB THUMB DRIVE --
PETER (V.O.)
Physical security isnt much
better. While the cash sits inside
a fire-proof steel safe, the CPU is
protected by the same kind of lock
they use on toilet paper dispensers
in public bathrooms.
61.

Dublonski and Rick settle in to their posts in the
surveillance room. ON A MONITOR, it looks like Marchee is
kneeling as Peter uses the ATM.
PETER (V.O.)
If you wrote your code right, the
ATMs hardware should recognize it
as a system update and accept any
special commands you insert without
so much as an error report.
INT. CAESARS CASINO - GAMBLING FLOOR - SAME
Marchee stands and she and Peter walk away, blending in the
general hubbub in the casino.
PETER (V.O.)
And thats it. Abracadabra.
Youre now the proud owner of a
shiny new money machine. You can
make withdrawals, transfer funds...
INT. CAESARS CASINO - CAFE - DAY
Peter and Marchee join Teknine and Elix at a table in a hotel
cafe.
PETER (V.O.)
Or you can do something a little
more fun.
Marchee opens her laptop, types a few commands.
Peter looks at the camera on the ceiling -- he knows
Dublonski is watching. He turns his attention to Marchee as
she concentrates on typing a last line of code.
Marchee hits ENTER with a flourish, looks up.
MARCHEE
Okay.
She looks up at Peter. They lock eyes for a moment, a shared
secret between them.
ELIX
Any foreseeable problems?
Elix has caught them staring at each other.
TEKNINE
(buried in his laptop)
Let's just get this fuckin' over
with.
62.
INT. CAESARS CASINO - UPSTAIRS HALLWAY - DAY

A door opens and the BLONDE MAN FROM THE PICTURE steps out.
He walks past Ramsey, who's leaning against the wall checking
his phone, messenger bag slung over his shoulder.
He hits send on a text message: INCOMING
As soon as the Blonde Man rounds the corner to the elevators,
Ramsey approaches the door. Out of his bag, he pulls what
looks like a WHITE BOARD MARKER.
He fishes under the bottom of the lock and pulls a PLASTIC
PLUG from a small hole. He uncaps the marker, revealing a
METAL CONTACT instead of ink, and sticks it into the hole.
After a moment, the lock makes a SATISFYING BEEP and the
LIGHT turns GREEN. Ramsey opens the door --
INT. CAESARS CASINO - BLONDE MAN'S ROOM - CONTINUOUS
-- and takes quick stock of the room. It's tidy. A few
clothes in a suitcase, toiletries in the bathroom.
Ramsey opens the closet door, revealing a HOTEL SAFE. He
removes TWO PAPERCLIPS from of his pocket and sticks one in a
SMALL HOLE under the electronic lock.
He presses in and twists and...
The LED LIGHTS flash and the lock GROANS. Its unlocked.
Ramsey pulls open the safe --
Downstairs, the elevator doors open and the Blonde Man steps
out. Elix spots him from across the room, phone to his ear.
ELIX
Youre sure.
INT. CAESARS CASINO - BLONDE MAN'S ROOM - SAME
Ramsey is on the other end of the line, rifling through the
meager contents of the safe.
RAMSEY
Got a laptop and some bigger
drives, but thats it. Hes got to
have it on him.
Elix picks a trajectory to walk toward the Blonde Man.
63.
ELIX
(into phone)
Alright. Pack it in.
He makes eye contact with Peter and Marchee, sitting at SLOT
MACHINES on another part of the floor. He hangs up and DUMPS
HIS PHONE IN A TRASH CAN as he approaches the Blonde Man.
ELIX (CONTD)
(to Blonde Man)
James. James!
The Blonde Man turns to see Elix rushing towards him. He
looks around -- is he talking to me? Elix reaches him --
ELIX (CONTD)
Richard Chambers. We met yesterday
at lockpick village?
Elix's way of speaking has changed. It's faster, looser,
more colloquial.
BLONDE MAN
You must be thinking of someone
else --
ELIX
No, no, James. I'm Richard,
remember?
The Blonde Man starts fiddling with his KEY RING -- his
nervous habit.
BLONDE MAN
I don't think we met --
ELIX
'Course we did, of course. Look,
hey, maybe you can help me out
because I'm in a little bit of a
jam here. I've been looking for a
friendly face for the past half
hour. My phone died and I'm
supposed to meet my wife and I
can't reach her.
BLONDE MAN
I'm sorry --
The Blonde Man tries to walk past, but Elix gracefully steps
into his path.
ELIX
It'll just take a second.
64.
EXT. CAESARS CASINO - ACROSS THE GAMBLING FLOOR - SAME

Peter and Marchee watch Elix try to work the Blonde Man. He
clearly doesn't want to let Elix use his phone.
MARCHEE
He's not giving it up.
Peter looks up at the DOME CAMERA, makes a decision.
PETER
Set them off.
MARCHEE
I'm supposed to wait until Elix has
the phone --
PETER
Just do it now. Trust me.
Peter starts to walk off. Marchee types on her laptop.
INT. CAESARS CASINO - GAMBLING FLOOR - NEAR ATM - SAME
AN IMPATIENT GAMBLER stands at an ATM, hitting the buttons
along the side of the screen to complete his transaction.
After a second, the SCREEN GOES BLANK.
The Gambler reacts, then hits a button. Nothing. He hits
another button, then starts frantically pushing them all as
fast as he can.
Something RATTLES deep inside the machine. The Gambler
stops, curious, as the RATTLING noise increases...
The SLOT OPENS and the machine starts EJECTING MONEY like a
fire hose. Twenties pelting him in the stomach.
The Gambler is stunned for a moment, then bends down and
begins SCOOPING up as many bills as he can.
ACROSS THE ROOM: another ATM starts SPEWING MONEY.
A CROWD starts to gather, with people looking up from their
slots and tables and wandering closer to the money fountains.
INT. CAESAR'S CASINO - GAMBLING FLOOR - SAME
Elix and the Blonde Man watch the gathering crowd. It's
starting to get violent as people jostle for position.
WHAM --
Peter slams into the Blonde Man and sends them both tumbling
to the ground. Peter helps him up --
65.
PETER
I'm sorry, I didn't see you --
BLONDE MAN
What the hell are you doing?
PETER
The ATMs, I don't know --
A THIRD ATM starts dispensing MONEY. Peter and Elix make
brief eye contact, then Peter takes off across the room.
ELIX
Aaron, please, my wife's waiting.
Anxious, the Blonde Man turns back to Elix and hands over the
phone as chaos erupts around them.
Dublonski watches the pandemonium unfold on the screens as a
DOZEN SURVEILLANCE TECHS call out commands to security. Rick
paces, nervous.
RICK
This is getting messy.
INT. CAESARS CASINO - CAFE - DAY
Word of the ATMs has spread into the cafe, and Peter
struggles against the crowd to find Teknine, still sitting
with his laptop.
He plops the BLONDE MAN'S THUMB DRIVE on the table. Keeps
the rest of the keys.
PETER
How long?
Teknine plugs the DRIVE into his laptop. A window opens...
TEKNINE
Five minutes maybe.
PETER
(too long)
Five?
Teknine ignores Peter, types furiously.
Elix has the Blonde Man's phone up to his ear, standing right
next to him. The Blonde Man looks around nervously -- CASINO
SECURITY is flooding in as the money-grab gets violent.
The phone RINGS...
66.
INT. CAESARS CASINO - BLONDE MAN'S ROOM - SAME

Ramsey wipes down a DOORKNOB in the hotel room -- everything
has been restored to the way it was.
He answers his ringing phone --
RAMSEY
Yeah?
ELIX (PHONE)
Hi honey --
ELIX
We're almost ready to go in here.
It's getting a little crazy.
RAMSEY (PHONE)
I'll bring the car around.
INT. CAESARS CASINO - SURVEILLANCE ROOM - DAY
The Techs are still yelling to commands to security. At
least a half-dozen ATMS are now spitting money.
Dublonski watches Peter on the MONITOR --
INT. CAESARS CASINO - CAFE - SAME
Peter waits impatiently for Teknine as the cafe area is abuzz
with news of the ATM "malfunction".
There's a CHIME on Teknine's computer. He leans back and
looks at the screen, amazed.
PETER
Are you in?
TEKNINE
Fifty years in federal prison for
having this open on my screen.
Closer than Teknine knows. Peter looks at the LINES OF CODE.
Ultimate power disguised as run-of-the-mill software.
PETER
Just change the logins.
Teknine takes a deep breath, drunk with power. He sobers up
and leans in to type.
TEKNINE
Yeah.
67.
Peter pockets the Blonde Man's keys. He looks up at a DOME

CAMERA, thinking...
Dublonski watches Peter on the screen, seemingly staring back
at her. Resolved.
Then, he turns and walks away from Teknine.
RICK
Where's he going?
Dublonski doesn't respond, doesn't like this...
RICK (CONTD)
He's supposed to wait for the new
codes.
Elix hands the Blonde Man back his phone --
ELIX
Thanks again so much James.
As the Blonde Man puts his phone in his pocket, he absent-
mindedly reaches to touch his keyring, but realizes it's
gone. He realizes what happened, GRABS Elixs shirt --
BLONDE MAN
Where is it?
ELIX
Whoa, hey --
BLONDE MAN
Where are my fucking keys?
ELIX
Youve been watching me the whole
time.
The Blonde Man releases Elix, remembering when Peter bumped
him. He turns and sprints off without another word.
INT. CAESARS CASINO - ACROSS THE GAMBLING FLOOR - DAY
Peter approaches the seated Marchee, who's watching the
Blonde Man sprint toward the elevator.
MARCHEE
What are you doing?
PETER
We have to go now.
68.
MARCHEE
Is Tek done with the logins?
Dublonski watches Peter and Marchee have their quiet
conversation.
DUBLONSKI
What's he saying? Turn that up.
Rick turns up their speaker -- still can't hear their
argument. It's too loud in the chaotic casino.
INT. CAESARS CASINO - CAFE - SAME
Teknine sits over his computer, waiting. A window POPS UP on
the screen:
NEW LOGINS APPROVED
He taps the trackpad with his thumb, and --
UPLOADING...
Teknine looks up to where Peter was waiting and sees that
he's gone. He panics, looks around. Then he types another
command and --
UPLOAD CANCELLED
He studies the TABLE OF LOGINS for a moment, mouthing to
himself. Memorizing.
Then he hits another button --
SECURE DEGAUSSING COMPLETE
He closes his laptop and stands to go, checking to see if
anyone's watching him --
Rick sees Teknine get up from the table in the monitor --
RICK
He's walking away.
Dublonski watches Peter and Marchee in another monitor, still
talking quietly. Psychically begging Peter to give them a
signal.
INT. CAESARS CASINO - ACROSS THE GAMBLING FLOOR - SAME
Marchee's arguing --
69.
MARCHEE
Youre supposed to wait until he's
done --
PETER
We don't have time.
MARCHEE
What are you talking about?
Peter looks back up at the DOME CAMERA, anxious.
Rick watches Teknine snake his way through the casino.
RICK
We're losing him. Mary.
Rick looks at Dublonski for guidance, but she's stoic.
Doesn't want this to be true. Doesn't want to admit she's
losing control.
On the monitor, Teknine walks through the crowd...
RICK (CONTD)
Mary.
Rick can't wait any longer. He picks up a radio --
RICK (CONTD)
Send in tactical. Now.
FBI SWAT floods the gambling floor, forcing their way through
the crowds still fighting over the LOOSE BILLS and heading
toward's Peter and Marchee's position.
Peter yanks her up --
PETER
We have to go now.
Marchee turns and sees the SWAT officers. She looks at
Peter, confused --
PETER (CONTD)
(pulling her away)
Come on.
Rick barks orders into the radio as he tracks Peter and
Marchee on the monitor --
70.
RICK
They're heading for the pit. Lock
it down, no one in or out.
Rick looks over to another MONITOR and sees Teknine walking
briskly, carrying a bag over his shoulder --
RICK (CONTD)
Get someone to the skybridge now,
suspect "Teknine" is almost clear
of the building --
Dublonski watches everything, paralyzed.
INT. CAESARS CASINO - SKYBRIDGE - SAME
Teknine heads toward the end of the elevated walkway. He
looks over his shoulder to make sure no one's following --
INT. CAESARS CASINO - PIT - DAY
Peter and Marchee push their way through the frenzied crowd.
Peter turns to see SWAT officers rounding the corner,
scanning for them. Clearly getting assistance from cameras.
PETER
We have to split up. Keep your
head down and meet me at the
souvenir shop on Atlantic and
Delaware.
Before Marchee can respond Peter TAKES OFF TO THE RIGHT,
drawing SWATs attention. They run after him, shoving people
out of the way.
INT. CAESARS CASINO - PIER SHOPS - DAY
Peter and Marchee SPRINT through the high-end shopping mall.
Confused shoppers scatter as they weave through the crowd,
SWAT officers a dozen yards behind, knocking people over as
they bulldoze through the heavily-populated shopping area.
SUDDENLY --
Peters YANKED sideways into a DESIGNER STORE --
INT. CAESARS CASINO - PIER SHOPS - SOAP STORE - CONTINUOUS
-- by Marchee, who ushers him toward a SERVICE ENTRANCE in
the back.
MARCHEE
You knew this was going bad.
71.
PETER
What?
Peter looks back toward the entrance as the SWAT officers RUN
PAST. Marchee pulls him into the employees-only back room --
INT. CAESARS CASINO - PIER SHOPS - STORE - BACK ROOM - DAY
Marchee holds Peter just inside the door. He looks through
the doors cut-out window, anxious.
MARCHEE
Whats my dogs name?
PETER
Your dogs name?
MARCHEE
On IRC I said I had a dog and I
told you its name. What did I
say?
Peters heart starts beating fast. Out the window a SWAT
officer has returned to the front of the store.
PETER
(taking a chance)
You dont have a dog.
MARCHEE
Doesnt matter. We talked about my
fake dog for an hour, youd
remember.
THROUGH THE WINDOW, the SWAT officer talks to a SHOPPER
(female). She points toward the employees-only area --
PETER
I... I dont know. Marchee we have
to go.
MARCHEE
Who are you?
The SWAT officer approaches the back room...
MARCHEE (CONTD)
Who are you working for? FBI?
The officers almost there. Peter takes a chance --
PETER
I was. Until I warned you to run.
Marchee stares at him for a second, not wanting to believe
it, then hears the DOOR OPEN --
72.
She turns --
The SWAT officers startled to see them so close. They look
at each other for a half beat...
Peter and Marchee BOLT. The SWAT officer SCRAMBLES after
them --
INT. CAESARS CASINO - PIER SHOPS - SERVICE HALLWAYS - DAY
Peter and Marchee sprint through the twisty, narrow halls,
the SWAT officer on their tail, yelling into his radio --
SWAT OFFICER
Got two of them running through the
back halls of the mall thing --
Peter and Marchee make a SHARP RIGHT through some service
doors --
EXT. CAESARS CASINO - LOADING DOCK - DAY
They run out into a loading dock area, the lone SWAT Officer
chasing behind --
SCREEEE --
In front of them -- a BLACK TOWNCAR screeches around a
corner, heading straight toward them.
Peter and Marchee both stare for a moment, deer in headlights
as it races closer.
They look back -- the SWAT officer's closing in fast. They
turn and run towards him -- better chance of getting by him
than the car.
VRRRM --
The towncar weaves to the left, NARROWLY MISSING Peter,
before pulling a HARD RIGHT -- cutting them off from the SWAT
officer.
Peter and Marchee both skid to a stop as the passenger window
rolls down --
Elix. Ramsey in the driver's seat.
ELIX
Get in.
Marchee and Peter look at each other for just a moment, then
pile in as Ramsey steps on the gas. The SWAT officer aims
his gun, but decides not to fire. He gets on his radio --
73.
SWAT OFFICER
Suspects hopped in an unmarked
black Lincoln heading toward...
(looks around, doesn't
know where he is)
Shit.
Rick's frantic, yelling --
RICK
Give me a half mile lockdown in all
directions now --
INT. TOWNCAR / EXT. ATLANTIC CITY STREETS - DAY
The towncar SQUEALS out on to the street. Elix leans through
the gap in the seats --
ELIX
Where's Teknine?
PETER
I don't know.
Elix and Ramsey look at each other. Peter tries to read
Marchee's face -- whats she thinking?
An Atlantic City Police cruiser screams past going the other
direction, lights flashing and siren blaring.
Peter watches through the back window as it pulls a SHARP
LEFT and BLOCKS OFF an intersection.
They made it past the lockdown.
EXT. CAESARS PALACE - BUS LOBBY - DAY
Teknine walks down the stairs to the bus lobby, head on a
swivel. He grips his bag tighter.
After a few more steps, it becomes apparent the crowd is
thinning. Compared to the chaos of the gambling floor, in
here it's almost... eerie.
Teknine slows down. Everyone has disappeared from sight. He
gets a very bad feeling about this...
VOICES (O.S.)
Freeze! Get down on the ground!
On your knees!
FBI SWAT OFFICERS swarm in from everywhere at once, assault
rifles drawn, as Teknine sinks to the ground and puts his
hands on the back of his head.
74.

Dublonski's watching the scene unfold on the monitors, biting
her thumb nail. Rick scans monitors, pissed. Theyre gone.
RICK
Should have shut this down when you
had the chance.
He storms out. Off Dublonski, stoic --
INT. TOWNCAR / EXT. ATLANTIC CITY STREETS - DAY
Ramsey snakes his way through Atlantic City, obeying every
traffic law to the letter. They listen to POLICE RADIO
CHATTER in silence. Elix works on a CELLULAR-CONNECTED
LAPTOP.
POLICE RADIO
-- repeat, one suspect in custody,
all available units extend search
radius by four blocks.
ELIX
The new login isnt here. He
didnt upload it.
Ramsey reaches over and clicks off the radio. Silence in the
car for a moment.
MARCHEE
We need to find Crown. Tell him
what happened.
ELIX
No. There's no need.
EXT. ANOTHER ATLANTIC CITY STREET - DAY
The towncar makes a right into an underground garage.
INT. TOWNCAR / INT. UNDERGROUND GARAGE - DAY
Daylight disappears as the car drives deeper. Peter's
getting even more nervous.
MARCHEE
What are we doing down here?
ELIX
There are six northbound toll
booths between here and Manhattan.
They're looking for a black town
car with no plates, it won't be
hard to spot us.
75.
MARCHEE
What's in Manhattan?
Ramsey pulls into an empty space, turns off the engine.
ELIX
If the FBI has Teknine, that's
where they'll take him. Wait here.
Elix gets out and Ramsey follows, leaving Peter and Marchee
alone in the back seat. After a moment:
MARCHEE
I need to know exactly who you are
right now.
PETER
Marchee please --
MARCHEE
You dont get to lie anymore. Not
to me.
Peter looks at Elix and Ramsey talking out the window, knows
what he has to do.
PETER
My name is Peter Shay. I live in
Union, New Jersey with my sister and
her son. Eight months ago the FBI
broke down the door of her split
level and arrested me in her
kitchen, and every day since Ive
been helping FBI cybercrime in
exchange for time off whats
expected to be a very long sentence.
MARCHEE
Wheres Keith Garrett?
PETER
Federal prison.
MARCHEE
Did you help put him there?
Peter doesnt answer, but Marchee doesnt need him to. She
wrestles with what to do with this knowledge.
MARCHEE (CONTD)
Why would you throw out your deal
for someone you dont even know?
PETER
Because you shouldnt have to pay for
my mistake.
76.
Marchee looks out the window, thinking. Elix and Ramsey chat
a short distance away.
INT. UNDERGROUND GARAGE - SAME
Elix and Ramsey are huddled, facing away from the car.
ELIX
We can't take the risk.
RAMSEY
They're a couple kids. This is
really how you want to handle it?
ELIX
It's not that I want to.
Ramsey sighs, looks back at the car. Hard to see inside with
the glare from the overhead fluorescents. He hands Elix
another set of CAR KEYS.
RAMSEY
Van's two levels down. I'll meet
you outside.
Elix leans in and KISSES Ramsey. Passionate.
INT. TOWNCAR / INT. UNDERGROUND GARAGE - SAME
Marchee and Peter both react to the kiss -- whoa. Elix
squeezes Ramseys shoulder, then heads toward the stairs.
PETER
We can still get out of this.
Together.
Marchee turns to look at Peter, unsure.
PETER (CONTD)
They want to head right back to the
FBI an you know we cant do that.
Peter grabs her hand, and she lets him.
PETER (CONTD)
The only leverage left is Crown. We
track him down and we have something
to trade. We can still get out of
this.
Marchee considers, wondering how much she can trust him.
PETER (CONTD)
Do you hear what Im saying?
(no response)
Marchee.
77.
Peter sees motion out the window --

PETER (CONTD)
Down!
Peter YANKS Marchee to the floor of the car as --
BANG-CRASH-BANG! TWO BULLETS SHATTER THE WINDOW as GLASS
RAINS DOWN on Peter's back --
Ramsey holds the smoking gun. SIX-SHOT REVOLVER. He looks
for motion in the car, sees none. He approaches, slowly, gun
still aimed...
INT. TOWNCAR - SAME
Peter lays on top of Marchee on the floor of the car, between
the seats. They're facing away from the window Ramsey shot
through.
PETER
(whispering)
Are you okay?
Marchee nods, terrified.
PETER (CONTD)
(still whispering)
I'm going to open the door. Stay
put no matter what I say, alright?
Marchee nods again. Peter reaches for the handle, opens it,
and SHOVES the door open with his hand --
BANG-CRASH! More glass rains down --
PETER (CONTD)
Go! Run run run!
Ramsey hears the yell and runs around the back, hoping to
head them off --
But nobody's there. The other door opens and Peter and
Marchee spill out, catching Ramsey out of position. Ramsey
takes aim through the car again --
BANG! Glass SHATTERS on ANOTHER CAR, setting off a CAR
ALARM. It ECHOES through the garage.
Peter and Marchee stay low, weaving between cars. They have
to yell over the ALARM --
78.
PETER
Can you start one of these?
MARCHEE
What?
Peter grabs her and they both crash down behind a car,
several rows between them and Ramsey.
PETER
We have to start a car.
MARCHEE
I don't have my laptop --
PETER
What about an older car?
ACROSS THE GARAGE
Ramsey stalks through the rows as the ALARM BLARES. He scans
for movement.
RAMSEY
(yelling)
Come on kids. I don't like this
any more than you do.
BEHIND A CAR
Peter gets on his knees and peeks through a window, spotting
Ramsey still a fair distance away.
MARCHEE
That one.
PETER
(ducking back down)
What?
Marchee points to a RED FORD BRONCO across the aisle.
MARCHEE
My mom used to have a Bronco.
Peter clocks the admission of personal information, but it's
not the time to get into it.
PETER
How much time do you need?
MARCHEE
Thirty seconds outside, maybe a
minute in.
79.
PETER
(that's too long)
A minute and a half?
MARCHEE
You want to hotwire the car?
PETER
Okay, okay.
(works up his nerve)
Okay. You ready?
She nods. Peter scrambles up from their hiding place and
SPRINTS away from the Bronco --
ACROSS THE GARAGE
Ramsey sees the movement and tracks it with the gun, but
cant get a good shot.
Peter stays low between the cars as he runs. Ramsey realizes
it's only Peter running and WHIRLS AROUND --
Marchee is standing by the door of the Bronco. Ramsey sees
shes stationary and FIRES --
BANG-CRASH! The window EXPLODES by Marchee's head. She
reaches in and UNLOCKS the car, throwing the door open --
Ramsey runs toward her, angling for a better shot --
Peter sprints up behind Ramsey and JUMPS on his back,
swatting at the gun in his hand. He misses --
Ramsey SPINS around mid-stride and FALLS, smashing Peter into
the concrete --
Peter keeps his arm wrapped around Ramsey's neck --
INT. BRONCO / INT. UNDERGROUND GARAGE - SAME
Marchee's under the dash, panel pulled out, rifling through
thick bundles of wires. She finds one she wants and SCRAPES
off the rubber coating with her teeth --
Ramsey ELBOWS Peter in the side as the two struggle on the
ground. Peter SWATS at the revolver again and it skitters
across the concrete --
Marchee twists two exposed wires together. The DASH LIGHTS
turn on. She STRIPS a third wire with her teeth --
80.

The CAR ALARM STOPS. Odd silence in the garage.
Ramsey ELBOWS Peter again and scrambles after the gun.
Peter spins on the concrete and GRABS Ramsey's foot. Ramsey
SLAMS into the concrete again.
Ramsey KICKS Peter with his free foot and Peter releases --
Marchee touches the third exposed wire to the other two and
the engine GROWLS to life.
She jumps into the drivers seat and throws the car into
reverse, ROARS out of the parking spot on a turn.
Directly in her headlights is --
Ramsey, pointing the revolver at Peter. Both sitting on the
floor of the garage.
RAMSEY
(doesn't take his eyes off
Peter)
Get out of the car, Marchee.
The only sound is the idling Bronco. Nobody moves an inch.
PETER
Why are you doing this?
RAMSEY
FBI SWAT doesn't just hang out at
Caesars.
(yelling to Marchee)
Get out of the car or I'm putting
air holes in your boyfriend.
Peter tries another tactic --
PETER
Theyre chasing us too. Were on
the same side here --
Ramsey laughs, but its short lived.
RAMSEY
(to Marchee, still looking
at Peter)
Get out. Of the car.
81.
Marchee TURNS ON THE BRIGHTS. The sudden light change causes

Ramsey to turn to the Bronco --
Peter seizes on the opportunity and DIVES at Ramsey --
Ramsey raises the gun --
BANG!
Peter falls on Ramsey, grappling with the gun --
CLICK-CLICK-CLICK -- empty.
Marchee pops the transmission in drive and MASHES THE
ACCELERATOR, the Bronco heading directly toward Peter and
Ramsey as they GRAPPLE --
Ramsey PUNCHES Peter in the jaw and JUMPS off to one side,
Peter rolls the other way. There's BLOOD on both of them --
Marchee VEERS the Bronco toward Ramsey and SLAMS ON THE
BREAKS, separating him and Peter --
Peter climbs in the passenger seat and Marchee PEELS OUT
before Peter even gets the door closed.
The Bronco SQUEALS up and a ramp and out of sight as Ramsey
watches from the ground.
EXT. ANOTHER ATLANTIC CITY STREET - DAY
The Bronco BUMPS out of the garage and rejoins traffic.
INT. BRONCO / EXT. ANOTHER ATLANTIC CITY STREET - SAME
Marchee drives as Peter leans against the window, holding his
LEFT SIDE. His shirts SOAKED WITH BLOOD.
MARCHEE
Jesus, you're shot.
Peter groans, realizing how much pain he's in now that the
adrenaline's wearing off. He lifts his shirt -- a BLOODY
GRAZE, like a deep cut.
MARCHEE (CONTD)
We have to get to a hospital.
Peter presses his side and fights through the pain.
PETER
No. They'll find us.
82.
MARCHEE
You're bleeding all over the
fucking car.
Peter grits his teeth --
PETER
My sister.
MARCHEE
What?
PETER
My sisters a nurse.
MARCHEE
You think the FBI hasnt already
thought of that?
Peter takes a few sharp breaths, pressing his already blood-
soaked shirt harder into his side.
PETER
Theres a game store. Theres a
game store on 6th Ave.
MARCHEE
(no idea what he means)
A game store?
PETER
Fuck.
Peter doubles over, holding his side.
Marchee catches his eye. A moment between them. Trust. He
closes his eyes as Marchee steps on the gas...
FADE TO BLACK
SCREEEEEEE --
INT. HOLDING ROOM - NIGHT
Dublonski scrapes open a METAL DOOR, a FILE BOX in her arms.
Teknine sits at a table handcuffed to a metal loop in the
center. Three empty chairs.
No windows, so no sense of time, but the expression on
Teknine's face indicates he's been there a while.
Dublonski takes a quick look around the room.
DUBLONSKI
Lawyer's still not here?
83.
Teknine looks up, says nothing. Dublonski sits and puts the
file box down in front of her. Opens it. Straightens the
contents. Checks her watch, exaggerated. Looks at the door.
DUBLONSKI (CONTD)
You mind if I just...?
Teknine remains silent. She takes that as consent and pulls
a YELLOW PAD out of the file box.
DUBLONSKI (CONTD)
Congratulations, you successfully wiped
the new Conficker login from your
laptop. Techs couldnt dig it out.
(beat)
I bet Agent Chan fifty dollars you
memorized it, though. Howd I do?
She slides the pad and a pen over to Teknine. He just stares.
DUBLONSKI (CONTD)
Attorney General's prepared to let
you plead down to misdemeanor
trespassing and all you have to do
is write it down.
He looks at the pad, then back up to Dublonski.
DUBLONSKI (CONTD)
How are you feeling, by the way?
(still no response)
Everything okay with the...
She vaguely references her own heart. Teknine registers
barely-perceptible surprise.
Dublonski sees she's on to something, and pulls a THICK
MEDICAL FILE from the box. She opens it --
DUBLONSKI (CONTD)
There was a boy in my high school,
had a heart problem like yours.
Ghostly pale all the time. Sick.
One day he just disappeared, no one
knew what happened to him. Not
sure many people noticed, actually.
Came back a few months later and
his hair was turning gray. Guess
that happens sometimes after
surgery, its how the body
processes the shock.
(looks over file, musing)
A few kids called him grandpappy --
it was rural Virginia. Most kids,
though, they just kept ignoring him
like before. Poor kid. Spent his
childhood all alone.
84.
Teknine starts picking at his thumb nail. Dublonski looks

around the empty room, at the empty chair next to him.
DUBLONSKI (CONTD)
Looks like nothing's changed.
Teknine picks up the pen, considering...
... and then puts it back down. Folds his hands and looks at
Dublonski. Not going to say a word.
INT. FBI NEW YORK OFFICE - ZALPOWICZ'S OFFICE - NIGHT
Dublonski lightly knocks as she enters the stuffy, old-
fashioned office. Zalpowicz is behind his enormous desk,
facing Rick and another man with his back turned.
ZALPOWICZ
(uncomfortable)
Mary. How about you sit down.
Dublonski cautiously approaches a third empty chair. The
unknown man turns -- it's Lydekker.
ZALPOWICZ (CONTD)
This is Agent Lydekker. From the
Puzzle Palace.
Dublonski sits, suddenly on high alert. She doesn't like
where this is going.
LYDEKKER
We're familiar.
Uncomfortable silence. Finally:
ZALPOWICZ
Right. Well. I just want you to
know before we start I don't have a
choice in this --
DUBLONSKI
Dan.
She already knows what's coming.
ZALPOWICZ
What do you want me to say? We
don't know who has access to the
Conficker thing and your undercover
helped three suspects vanish into
thin air. The director called me
personally to elucidate what a
clusterfuck this whole thing is.
Dublonski looks at Rick, pointed --
85.
DUBLONSKI
We're still sorting out the
situation.
ZALPOWICZ
That's the problem.
Uncomfortable silence.
DUBLONSKI
Are you taking this away from me?
He just looks at her. Nothing else to say. Lydekker fills
the silence --
LYDEKKER
Should have just let me handle it
from the start. Less embarrassing
for everyone.
(standing)
The moment I walk out that door
this becomes a classified
operation. No media appearances,
news stories, or mentions of this
to anyone in any department of any
organization for any reason. Have
someone pack up your files on
Conficker, Crown, and anything else
pertinent and the courier'll come
by in a few hours. And Mary?
Dublonski glares daggers as Lydekker puts on his jacket.
LYDEKKER (CONTD)
What's yours is mine. Remember
that.
Dublonski turns her fury on Zalpowicz, who shrugs helplessly.
INT. FBI NEW YORK OFFICE - HALLWAY - NIGHT
Dublonski and Rick are alone in the hall just outside
Zalpowicz's office. Dublonski hisses --
DUBLONSKI
You go over my head again and I'll
make sure you spend the rest of
your miserable career in evidence
control. I've been here a long
time, I can still pull strings.
RICK
Pete played you, I get that. But
we both saw the warning signs and
you went after your gold star
anyway. You had a chance to nip
him in the bud and you choked.
86.
Rick's tone is calm, confident. Dublonski knows he's right,

backs off.
RICK (CONTD)
The NSA was gracious enough to take
this mess off our hands. How about
we let them worry about it now.
DUBLONSKI
First time I've heard "NSA" and
"gracious" in the same sentence.
The dry joke catches Rick off guard. He smiles.
RICK
You should go home. I'll make sure
the asshole with the bad haircut
gets what he needs.
Dublonski nods, realizing Rick's right again. Their job here
is done.
CUT TO:
A DIGITAL SOLDIER gets MOWED DOWN by gunfire.
INT. VIDEO GAME STORE - NIGHT
Peter and Marchee stand behind a 13-YEAR-OLD playing CALL OF
DUTY at a display inside the nearly-empty store. Peters
still holding his side, his shirt soaked through with blood.
PETER
Hey kid. Our turn.
The 13-year-old ignores them, restarts the game.
MARCHEE
(louder)
Hey kid.
The kid turns and BLANCHES when he sees Peter. He drops the
controller and scuttles off. Peter wipes his hands on his
shirt and puts on the HEADSET.
INT. ANNAS HOUSE - BASEMENT ROOM - NIGHT
Michael sits in the basement, playing Call of Duty with his
own headset. Eyes glazed.
Out of nowhere, his AVATARS HEAD EXPLODES. He blinks,
stunned.
MICHAEL
(into headset)
Who the fuck did that?
87.
PETER (HEADSET)
Hey. Language.
MICHAEL
Shut the fuck up noob, you come out
in the open and Ill stab you in
the fucking asshole --
PETER
Mike. Jesus.
Michael realizes whos on the other end of the line --
MICHAEL
Uncle Pete?
CUT TO:
INT. SHITTY HOTEL - BATHROOM - NIGHT
HANDS press a DAMP RAG on to Peters bloody gash.
PETER
Ahhh --
He winces, looking at the filthy mirror. His sister Anna is
cleaning his wound, a MEDICAL BAG nearby.
LATE NIGHT TV can be heard from the other room. Peter and
Anna talk quietly.
ANNA
There was an FBI agent at my house,
Peter.
PETER
I know. Im sorry.
ANNA
I had to lie to an FBI agent. They
tried to convince me youre dangerous.
She pulls out a NEEDLE and starts STITCHING Peters side.
PETER
Ow. Could you...?
ANNA
No. This is going to hurt.
She goes in for another stitch and he WINCES. She looks out
the door to make sure that Marchee is still watching the TV,
then lowers her voice even further.
88.
ANNA (CONTD)
You had a plan. You said you were
going to do some real good. Was
that bullshit?
Peter doesnt have an answer Anna wants to hear.
ANNA (CONTD)
What about me, Pete? What about
Michael?
Anna does one more stitch, more aggressive than necessary --
PETER
Ow!
INT. SHITTY HOTEL - ROOM - SAME
Marchees watching TV on the bed. She turns to the door
after Peters outburst, concerned. When she determines its
not an emergency, she turns back to the TV. Giving them
their privacy.
INT. SHITTY HOTEL - BATHROOM - SAME
Anna dabs the stitched-up wound, still glaring. Peter stares
off into space, emotional.
PETER
I was standing in the casino, and I
started thinking about a few months
from now, when Id have to put on a
suit and a tie and go to court and
testify. And I couldnt do it. I
couldnt do that to her.
Anna softens. Its odd to see him like this. Odd to see him
caring about someone. She applies a thick bandage.
ANNA
How bad trouble are you in?
PETER
Bad.
Anna knows exactly what that means. She pats the bandage
down, then pulls a few CREDIT CARDS out of her purse. She
puts them on the counter as Peter pulls on his shirt.
ANNA
Im reporting these stolen tomorrow
night. Thats the best I can do.
PETER
Thank you.
89.
They look at each other for a long beat. Maybe for the last
time. Anna cant play tough anymore -- she wraps him up in a
big hug. Peter winces from the pain, hugs back.
ANNA
Bye baby brother.
Peter cant bring himself to say anything. Anna releases,
takes a deep breath, puts on a brave face, and walks out of
the bathroom.
INT. SHITTY HOTEL - ROOM - NIGHT
Anna crosses through the room without even casting a glance
in Marchees direction. Marchee watches her close the door
behind her.
Peter appears in the door of the bathroom.
PETER
Sorry about that. Shes... she
didnt understand.
Marchee looks at him.
MARCHEE
Its okay.
Peter sits next to her on the bed.
PETER
I know a guy that can get us good
fakes. We can go to Ecuador.
Beaches. Sun. Lack of extradition
treaty.
Peters attempt at a joke falls flat. Marchee stares into
the middle distance.
MARCHEE
I cant just run away.
PETER
If we get caught were looking at
decades. Espionage, terrorism
maybe. Its our best option.
A beat of silence.
MARCHEE
My sister and I lived with my mom
in this one bedroom shithole by the
freeway. She had these boyfriends.
(MORE)
90.
MARCHEE (CONT'D)
One of them, Tom -- they would get
in these screaming fights and then
he'd storm out, and she'd cry
through her black eyes and bloody
cheeks. Then a few nights later
he'd come back and it would be like
nothing ever happened.
(beat)
One night, he broke her orbital,
right here --
She touches her own orbital bone, right under the eye.
MARCHEE (CONTD)
She wouldn't go to the hospital
because Tommy was on parole and she
didn't want him to get in trouble.
(beat)
That was the night I decided to
leave. I couldn't understand why a
person would work so hard to
protect someone who hurt her so
badly.
(beat)
My sister was still little. I told
her I'd come back for her. I told
myself.
The weight of that lands on Peter. Its why Marchee cant
flee the country.
PETER
She'd understand if she knew why
you had to run.
MARCHEE
But she won't know.
Peter looks around the dump of a room. A far cry from the
hotel in Atlantic City. Hell, a far cry from the basement in
his sisters house.
PETER
Neither would my nephew, Michael.
He's a good kid.
(beat)
What's your name? Your real name.
Marchee looks up at him, surprised by the question.
MARCHEE
Lauren.
PETER
Lauren.
91.
They look at each other for a beat. He leans in to kiss her,

and she reciprocates. Soft. Tender.
Then it gets hotter and heavier. Marchee strips off his
shirt and then her own. They fall back on to the bed.
INT. SHITTY HOTEL - ROOM - LATER
Marchee's asleep facing away. Peter watches her breathe, her
back gently rocking up and down.
After a moment, he gets up and picks up his discarded pants.
He rifles through the pocket and comes up with the BLONDE
MANS KEY CHAIN.
He rifles through it, finding a gray KEY FOB. He turns it
over in the moonlight. Etched on the back are small letters --
OPS2A
TAO_0028
CUT TO:
INT. APARTMENT - NIGHT
Dark bedroom. A cell phone LIGHTS UP on the night stand,
BUZZING along on the wood panel.
A MAN on the opposite side of the bed stirs.
MALE VOICE
Mmm-honey, phone. Mary.
The man nudges his partner, who elbows up and clicks on the
light -- Dublonski. The man is presumably her HUSBAND (65).
Dublonski answers the phone.
DUBLONSKI
Dublonski.
(sits up)
Peter?
INTERCUT:
EXT. STREET OUTSIDE 7-ELEVEN - NIGHT
Peter paces the street, talking on a new BURNER PHONE.
PETER
I dont want to run.
DUBLONSKI
Where are you?
92.
PETER
Teknines the only one who can
access Conficker and you have him
in custody. I want to make a deal.
DUBLONSKI
Its too late, I cant do it.
PETER
Youre the FBI. Thought you could
do anything you want.
DUBLONSKI
Just tell me where you are and we
can talk about it.
PETER
We're talking about it now.
DUBLONSKI
NSA took over the investigation.
Its their deal to make.
Shit. Not what Peter wanted to hear. He debates whether to
play his next card.
DUBLONSKI (CONTD)
Peter?
He decides to go for it --
PETER
Ask Rick why the Crown's in Utah.
DUBLONSKI
Crowns in Utah? How do you know?
PETER
Just ask him.
Dublonski scribbles "CROWN IN UTAH?" on a notepad.
PETER (CONTD)
One-forty-two-four B.
CLICK. Dublonski stares at the phone, puzzled. She
scribbles that down too -- "1424B".
DUBLONSKI'S HUSBAND
Who was that?
DUBLONSKI
Work.
DUBLONSKI'S HUSBAND
Oh, Jesus.
93.
He rolls over and tries to go back to sleep. Dublonski RIPS

the page off her pad and gets out of bed.
EXT. CITY HALL PARK - NIGHT
Dublonski walks through the park in the cold. She's looking
for something...
There. Rick, standing alone in a pool of light. He waves
her over with a head nod.
RICK (PRELAP)
I should have made the connection
earlier.
EXT. CITY HALL PARK - MOMENTS LATER
Rick and Dublonski walk through the park. Dublonski pulls
her coat tighter, trying to keep out the cold.
RICK
When I got assigned to CyberCom in
'09, there were a couple weeks I
had access to a classified NSA
database. It was around the same
time they were proposing a new
communications monitoring system,
like a worldwide data wiretap. I
saw some of the specs.
DUBLONSKI
I remember that. I thought the
Justice Department shot it down.
RICK
What they never released to the
public was that it wasn't just a
monitoring program. It was
designed to give NSA control over
the entire internet in an
emergency, like a global kill
switch. It was supposed to be
based out of NSA's new data center,
the one they finished last month --
DUBLONSKI
In Utah.
(reeling)
Conficker is the NSAs?
RICK
You know their code name for the
project?
Everything clicks into place.
94.
DUBLONSKI
Crown.
Holy shit. Dublonski stops walking.
RICK
Someone knew exactly what they were
stealing.
Dublonski thinks about her next move --
DUBLONSKI
Find out where Peter called me
from.
RICK
Where are you going?
DUBLONSKI
I need a drink.
INT. UPSCALE RESTAURANT - NIGHT
The kind of place with gold flecks in the fois gras. It's
late, the restaurant empty. Lydekker sits at the bar with
two CONGRESSMEN and the Blonde Man, laughing at some joke.
LYDEKKER
-- and that was even before the
report came in. Should have seen
his face an hour later, looked like
some sort of human-lemon hybrid --
Hand on his back. He turns --
DUBLONSKI
I need to steal you for a minute.
LYDEKKER
Mary. Sorry I had to bigfoot you
back there, but I'm sure you can
see it's for the best. You
remember representatives Alvarez
and Fabry?
The doughy politicians offer a polite nod, but she ignores
them and presses on Lydekker.
DUBLONSKI
I want to talk about Crown.
Lydekker looks to the Blonde Man -- is she serious?
LYDEKKER
Race is almost over and you're
still betting with your horse three
lengths behind.
(MORE)
95.
LYDEKKER (CONT'D)
You dont have to concern yourself
with him anymore, Mary.
DUBLONSKI
Im not concerned about the person.
Im concerned about the program.
Lydekker's face falls as he realizes how much Dublonski
knows. He and the Blonde Man share a quick look.
INT. UPSCALE RESTAURANT - MEN'S BATHROOM - NIGHT
Lydekker checks under the stalls -- nobody. He gets up close
to Dublonski and lowers his voice.
LYDEKKER
Everything about it was approved.
The Joint Chiefs already know.
DUBLONSKI
Do the congressmen at your table?
LYDEKKER
Don't push this, Mary.
DUBLONSKI
In hindsight you probably should
have mentioned you were the one
infecting every network on the
planet. Why haven't you taken the
command server offline?
LYDEKKER
Everything's under control.
DUBLONSKI
Oh fuck you. There are nuclear
launch codes in the wind and you're
the one who armed the fucking bomb.
Lydekker steps closer. She becomes acutely aware of how big
he is, how strong. His voice is low, intense --
LYDEKKER
Your undercover helped a wanted
terrorist steal the U.S.
government's most valuable asset.
That's treason, at best. The death
penalty.
Dublonski holds her ground.
DUBLONSKI
You dont go near him. He's not
your problem --
96.
Lydekker suddenly GRABS DUBLONSKI and SLAMS HER against the

bathroom stall. Violent, scary. A side she hasn't seen
before. He GRABS HER WRISTS, spins her, growls in her ear --
LYDEKKER
Everything. Is my problem. This
is chess, Mary. My jobs to take
the king.
He breathes in her ear for a beat as Dublonski remains very
still. Then he releases her and exits through a side door.
Dublonski resumes breathing again in ragged bursts, her
adrenaline up.
After another moment, to seemingly no one:
DUBLONSKI
Did you get that?
INT. CYBERCRIME OFFICE - DIGITAL FORENSICS - SAME
Rick sits with the analyst Simms, a RECORDING DEVICE
blinking. He speaks into a microphone:
RICK
Every word.
INT. UPSCALE RESTAURANT - MEN'S BATHROOM - SAME
Dublonski pulls her phone out of her jacket pocket.
DUBLONSKI
Good.
She powers the phone off, lets it clatter to the floor. Digs
a tiny LISTENING DEVICE out of her ear. Breathes for a
beat...
... then breaks down into SHARP SOBS. Finally letting
herself be afraid.
INT. HOLDING ROOM - NIGHT
Teknine's still sitting at the table under the ugly
fluorescents, but they've removed the handcuffs. The door
opens and a LANKY GUARD steps in.
LANKY GUARD
Lawyer's finally here to see you.
Teknine looks up -- a man with a briefcase walks quickly past
and sits opposite Teknine.
It's Elix. Shaved, haircut, looking different but with the
same enigmatic sparkle in his eye. He turns and nods to the
Lanky Guard, who exits and closes the door behind him.
97.
TEKNINE
Where the fuck have you been?
ELIX
Arrangements had to be made.
TEKNINE
Fuck your arrangements. Get me out
of here.
ELIX
The Bureau's treating you as a
terrorist suspect.
TEKNINE
So how do we fix that?
ELIX
We don't.
TEKNINE
You ain't leaving me to rot in
here. You can't.
Elix opens his briefcase, removes a YELLOW PAD and an IPAD.
ELIX
This is the long game we're
playing. Better to be here for
what's coming next.
Teknine looks up at the camera in the ceiling.
ELIX (CONTD)
They aren't recording audio.
Elix slides over the yellow pad. Teknine picks up the pen
and clicks it open and closed. CLICK-CLICK.
TEKNINE
I want to talk to Crown.
ELIX
Who do you think you're talking to?
A possibility Teknine hadn't considered. His eyes go wide.
ELIX (CONTD)
We have the opportunity to
permanently destabilize the source
of inequality in this country. The
root of all political malfeasance,
all corporate greed, all social
injustice.
CLICK-CLICK. Teknine steals a look to the camera again.
98.
TEKNINE
Things look a little different now,
from this side of this table.
ELIX
You have a chance to change the
world. Not many men can say that.
Not many are brave enough. But time
is not on our side, you know that.
You know I wont abandon you.
Teknine looks directly at Elix, considering. CLICK. He
lowers the pen and writes, fast scribbles on the paper.
After he's finished, he slides the pad back.
Elix looks -- a long sequence of letters and numbers.
Teknine keeps his hand on the yellow pad.
TEKNINE
Get me out of here quick.
Elix unlocks his iPad and types.
ELIX
Sooner than you think.
He taps once more and --
Teknine's CHEST SPASMS. Like a silent hiccup. He recoils in
pain, unsure what happened.
ANOTHER SPASM. Elix starts packing up. Teknine realizes
what's wrong --
TEKNINE
No.
Elix shuts his briefcase and stands. Teknine yells --
TEKNINE (CONTD)
Help me.
The Lanky Guard and his PARTNER rush in, unsure what's
happening. They take stock of the room -- other than Teknine
writhing in his chair, everything looks in order.
TEKNINE (CONTD)
(having trouble breathing)
He's trying -- to kill me.
Teknine SPASMS again, the pain getting worse. The guards
look at each other, not sure what to do.
LANKY GUARD
I was watching the whole time. He
didn't go near him.
99.
Elix approaches --
ELIX
My client needs medical attention.
TEKNINE
He's -- killing -- me.
Teknine FALLS off his chair. The guards rush to him, leaving
Elix alone. They RIP OPEN his shirt, revealing a HEART
SURGERY SCAR --
TEKNINE (CONTD)
(wheezing)
Please. Pace -- maker.
LANKY GUARD
(into radio)
We need a medic now --
Elix watches from the doorway. Teknine's eyes are rolling
back into his head, his tongue sticking out, his breath
ragged. Looks like a heart attack. Elix slips out.
LANKY GUARD (CONTD)
(into radio again)
Where's the goddamn medic? He's
got a heart condition --
INT. METRO FEDERAL PRISON - HALLWAY - NIGHT
Elix walks down the hall without looking back as PARAMEDICS
sprint past him into the holding room.
INT. CYBERCRIME OFFICE - DIGITAL FORENSICS - NIGHT
Dublonski has joined Rick and Simms in the forensics lab.
Simms is working on tracing the source of Peter's call,
pointing at maps on his screen --
SIMMS
The call was made from a burner
phone, but we traced it to this
cell tower.
A CIRCLE pops up, centered on a cell site. Pretty big area
in Harlem.
DUBLONSKI
That's the best you can do?
Simms looks at Dublonski -- please, lady.
100.
SIMMS
Cell towers have three antennas
that each cover a third of the
circle. Closest one receives the
signal, so I can shrink it to this.
Simms types for a second and 2/3 of the circle disappears,
leaving a single wedge.
SIMMS (CONTD)
Based on the signal strength he was
about a half mile away, which means
we're looking at somewhere on this
band. But again, that was hours
ago.
Dublonski looks at the highlighted area -- still a big zone,
but not huge.
DUBLONSKI
Show me some flop houses around
there. Hotels that pay with cash
and you don't need ID.
A few keystrokes and Simms highlights all the shitty hotels
in the area. Dublonski looks at them, then checks the
notepad she scrawled on in her bedroom.
She looks at the "1424B", then back to the map. She draws a
line:
142/4B.
She points at one highlighted hotel --
DUBLONSKI (CONTD)
This one. Room 4B.
RICK
How do you know?
She hands the pad to Rick, stands.
DUBLONSKI
He wanted us to find him.
RICK
(looks at the number)
Why not just tell us where he was?
DUBLONSKI
Because he wanted us to know who we
were dealing with.
101.
INT. SHITTY HOTEL - ROOM - PRE-DAWN

The sun's not quite up, but the sky is getting brighter
through the dirty window. Peter looks outside -- nothing
remarkable out there. Pedestrians, cabs.
Someone SHOOS an oblivious PIGEON out of the street before a
car flies by.
MARCHEE (O.S.)
Whats out there?
Peter turns and sees that Marchee's awake. She's putting her
shirt back on. He's not sure how long she's been watching.
PETER
There was a bird in the street.
Marchee sits up, realizing something's odd about his tone.
MARCHEE
What time are you leaving?
PETER
Im not.
Marchee pauses at the news. She doesnt like that.
MARCHEE
No. You have to go. Youve done
enough, okay? Please.
Peter is silent. She knows somethings really wrong.
MARCHEE (CONTD)
Peter. Please.
PETER
Im sorry.
Time slows...
CRACK --
The door SPLINTERS off its HINGES as FBI SWAT bursts in and
swarms. Yells of "Down on your knees!" and "Hands on your
head!" fill the quiet room. Peter and Marchee both sink to
the floor.
Peter looks to the door as Dublonski enters, trailed by Rick.
He turns to see Marchee glaring at him, realizing what he
did. Betrayed.
102.
She never breaks eye contact as the SWAT officers force her
to the ground and cuff her.
CUT TO:
EXT. STREET - PRE-DAWN
A dark blue SPRINTER VAN is parked on the street. A small
ANTENNAE is attached to the top.
INT. SPRINTER VAN - PRE-DAWN
The back has been converted into an ad hoc TECH LAB. Ramsey
sits in the drivers seat, clipping his fingernails, while
Elix tightens a screw on a server rack hes assembling.
A POLICE RADIO drones in the background, lots of chatter.
Elix hears something and perks up. Ramsey heads him off --
RAMSEY
We dont know theyre a problem.
ELIX
Theyve seen our faces.
Ramsey knows Elix is right.
RAMSEY
What if you cant interface with
the command server?
ELIX
All we need is a good... connection.
Elix finishes the last screw and KNOCKS on the metal panel.
He hits a button and the server begins booting up.
RAMSEY
(sighs, gives up)
You ready?
Elix scoots to the keyboard and types -- on his screen we see
HUNDREDS OF LINES OF CODE. The seeds of destruction.
ELIX
No one's ever ready for the world
to change.
Elix takes a breath, then leans in and hits ENTER --
-- and nothing happens. Just a blinking cursor. Then, an IP
ADDRESS pops up on the screen. Then another, and another,
and suddenly theres a flood. Hundreds. Thousands.
Millions of them, scrolling faster and faster --
103.
PETER (V.O.)
This is how you shut down modern
civilization.
INT. SUBURBAN LIVING ROOM - MORNING
Suddenly were in a living room. A WOMANs web browser
freezes. The COMPUTER FAN kicks in, WHIRRING --
INT. RETIREMENT HOME - MORNING
An OLD MAN bangs on the keyboard of his computer. The
WHIRRING FAN NOISE increases --
INT. CUBICLE FARM - DAY
A JAPANESE OFFICE DRONE clicks his mouse, frustrated. The
FAN NOISE keeps getting louder...
The range of malfunctioning devices broadens, and we see...
FLAT SCREEN TVS IN A STORE WINDOW CUT OUT
A NETWORK TV CONTROL ROOM SUDDENLY FREEZES UP
AIR TRAFFIC CONTROL SCREENS GO BLANK
And so on and so forth, ending with...
INT. NEW YORK STOCK EXCHANGE - TRADING FLOOR - MORNING
Thousands of SCREENS flash and change as TRADERS watch.
Nothing unusual yet, until...
... a MURMUR ripples through the floor. A large section of
numbers have turned RED. Then another. Suddenly
everything's CRASHING and people are panicking --
The fan noise increases to a DEAFENING ROAR --
INT. TOWNCAR / EXT. TIMES SQUARE - MORNING
The towncar glides through light morning traffic. Dublonski
drives, Rick in the passenger seat. Times Square's
electronic billboards still blaze brightly in the morning
half-light.
Peter and Marchee sit in the back, both handcuffed.
Marchee chuckles to herself, sad. Peter looks at her.
MARCHEE
Never really know anyone.
SUDDENLY --
104.
Outside the window, a billboard FRITZES OUT. Then another.

Then they're all going HAYWIRE.
Traffic stops as everyone slows to look at the bizarre light
show going on overhead.
Dublonski turns over her shoulder to Peter --
DUBLONSKI
How is this happening?
PETER
Someone activated Conficker.
DUBLONSKI
You said yourself, Teknine's in
lockup --
PETER RICK
Are you sure about that? Mary!
CRUNCH. Everyone jolts forward as Dublonski REAR-ENDS a BMW
in front of them. Dublonski scowls and flicks on the POLICE
LIGHTS. The BMW stays in the middle of the street.
DUBLONSKI (CONTD)
Stay with them.
EXT. TIMES SQUARE - MORNING
The cars are stopped in the middle of the giant intersection.
Other drivers HONK and SWEAR as they try to get by.
Dublonski puts her hand on her gun as she approaches the BMW,
which remains in the middle of the street.
DUBLONSKI
(yelling over traffic)
Sir? Im going to have to ask you
to get out of the intersection.
Dublonski inches closer to the car, trying to see whats
going on. She looks up at the STREET LIGHTS -- all of them
are BLINKING RED. Everywhere. Uh oh...
DUBLONSKI (CONTD)
Are you alright? Are you hurt?
Dublonski looks around. Traffic is gridlocked, everyones
screaming, honking, swearing. Her spider sense tingles.
She gets closer to the BMW and bends down to see --
Theres no one in the drivers seat.
No time to react before an ENGINE ROARS and TIRES SQUEAL --
105.
SMASH!
ANOTHER CAR T-BONES the FBI cruiser, sending it skidding --
More HONKING and SWERVING as cars get out of the way --
Dublonski runs back to the cruiser, where Rick is already
spilling out the passenger side --
Another ENGINE ROAR as a THIRD CAR flies toward Rick. He
DIVES out of the way but it NAILS the front of the cruiser,
sending it spinning --
DUBLONSKI (CONTD)
Get them out!
Rick pulls on the door but its DENTED INWARDS -- stuck.
Peter spills out the other door, groggy from the accidents,
bleeding profusely. Dublonski UNLOCKS HIS HANDCUFFS.
Marchee spills out after him in similar condition. She tries
to stand, but stumbles --
Another ENGINE ROAR and Dublonski instinctively covers Peter.
The BLUE SPRINTER VAN pulls up --
Ramsey aims his REVOLVER from the drivers seat --
Dublonski freezes, releasing her grip on Peter. The van's
SIDE DOOR opens and Elix pops out and pulls Peter inside.
Marchee tumbles in after him, still handcuffed.
Dublonski watches the van ROAR OFF, in shock. No plates.
She scrambles back to the towncar as Rick piles in the
driver's side. He TAKES OFF after the van, driving up on the
sidewalk, LIGHTS FLASHING --
INT. TOWNCAR / EXT. TIMES SQUARE - MORNING
Dublonski grabs the radio as Rick tries to chase the van --
DUBLONSKI
Ten-thirteen, ten-thirteen Federal
agents need assistance pursuing
navy van no plates south on
Broadway at 39th.
She release the button and waits for acknowledgement.
Static. The Times Square billboards and traffic lights are
still going haywire.
Rick SQUEALS around a car, the van still a few blocks ahead.
DUBLONSKI (CONTD)
(into radio again)
Hello?
106.
Nothing. She chucks it.

DUBLONSKI (CONTD)
Shit.
INT. SPRINTER VAN - DAY
Peter slams against a bank of INTERCONNECTED CAR BATTERIES as
Ramsey weaves the van through traffic. The screens and
equipment are mostly holding, bolted to the inside. A few
random bits of plastic and metal clatter around.
Elix is holding Marchee around the waist, a SEMI-AUTOMATIC
PISTOL pressed against her temple. He talks to Peter --
ELIX
We know how this is going to end,
so all that's left is to figure out
the order. Were you working for
the Feds? Or was she?
Peter tries to hold on as the van flies around another curve.
ELIX (CONTD)
I need an answer.
MARCHEE
I was.
Elix clocks Peter's disbelief that she said that.
ELIX
Really Mr. Nightwatch? Is that the
answer you're going with?
PETER
No. I called the FBI.
Peter glares at Marchee -- what are you doing?
RAMSEY
(yelling from the front)
The lady Fed's still on our tail.
ELIX
Looks like our time's running
short. Anything else to say?
PETER
We can all still walk away from
this. Nobody needs to get hurt.
Elix shakes his head in disbelief. In a flash, he levels the
gun at Peter --
Marchee SHOVES his arm --
107.
Elix FIRES --
The bang is DEAFENING --
The bullet misses Peter's head by inches, going right through
the wall of the van as Peter DIVES the opposite direction --
Ramsey SWERVES, throwing everybody off balance. Peter
struggles up, EARS RINGING --
RAMSEY
(like he's underwater)
God-dammit --
Marchee and Elix GRAPPLE on the floor of the van over the
gun, which is pinned over Elix's head. He overpowers her and
raises it --
BANG --
Another deafening shot rings out in the tin can and the van
ACCELERATES, throwing them all to the back.
Peter climbs to his knees and looks out the windshield --
It's CRACKED, a SPIDERWEB growing right in front of Ramsey.
Peter looks at him. He's slumped over the wheel, BLOOD ALL
OVER THE FLOOR.
Shot. Oh fuck...
THROUGH THE WINDSHIELD
The van's racing toward a DEAD END -- 35th Street, where
Broadway turns into a PEDESTRIAN WALKWAY next to Macy's,
guarded by CONCRETE BARRIERS.
Pedestrians look up from their non-functioning cell phones
and SCATTER as the van roars closer --
INSIDE
Peter pulls down on the wheel --
INT. TOWNCAR / EXT. BROADWAY AND 35TH - SAME
Dublonski and Rick watch as the blue van careens toward the
dead end. It turns to the right, but it's going too fast --
It SLAMS through the barriers, inertia knocking it over as it
SKIDS ON ITS SIDE, taking out GIANT UMBRELLAS and CHAIRS,
sparks flying...
... until it comes to a rest.
RICK
Holy shit.
108.
Traffic's stopped, Rick can't drive any closer. Dublonski

opens the door and gets out --
RICK (CONTD)
Mary, don't --
INT. SPRINTER VAN - DAY
Equipment everywhere as Peter, Marchee, and Elix all struggle
for consciousness.
They're laying on what was formerly the wall of the van, most
of the computer equipment still bolted to the "floor" at a
funny angle.
Elix reaches up and opens the back door, and the formerly
vertical door falls to the ground. Light spills inside.
Elix crawls out --
EXT. BROADWAY BETWEEN 34TH AND 35TH - CONTINUOUS
-- into the winter day. He's bruised, bloody, beaten up.
Almost everyone has disappeared from the pedestrian square.
He feels someone behind him, standing over him.
MAN'S VOICE (O.S.)
Just so you know, Crown.
Elix turns to look --
Lydekker stands over him, holding a pistol. Bulletproof vest
over his shirt, heavy coat, tired expression.
LYDEKKER
You were never really in control.
BANG --
Brains on the pavement. Whatever bystanders were left SCREAM
and SCATTER in every possible direction. The Blonde Man
hovers nearby, backup.
Lydekker turns to the van --
INT. SPRINTER VAN - CONTINUOUS
Peter crawls over to Marchee, realizing how much his side
hurts. He looks down -- hes bleeding through his bandage.
Marchee's in bad shape, a GASH on her head from the accident.
Peter pulls her upright, wipes the blood from her face.
PETER
Here we go, okay.
109.
Marchee looks at him, struggles to remain conscious.

MARCHEE
I wasn't lying.
PETER
(trying to placate her)
I know, it's okay.
MARCHEE
No. I was helping the S...
Peter leans in to listen...
MARCHEE (CONTD)
The N-S...
The back door swings all the way open, Marchee lolls her head
to look. Lydekker steps into the wreckage.
LYDEKKER
How's my girl doing?
Lydekker shoves Peter away, crouches down. He keeps his gun
trained on him while he examines her head wound.
LYDEKKER (CONTD)
Couple stitches and a cat scan and
you'll be good as new.
Marchee makes eye contact with Peter across the van.
MARCHEE
(whispers)
I'm sorry.
Lydekker knows she's not talking to him, but --
LYDEKKER
Nothing to be sorry about, sweetie.
Did your part admirably.
(to Peter)
She's got this incredible soft spot
for her sister, you wouldn't
believe. Hell of a lay, too. But
you know that.
He reaches under her shirt and pulls out a THIN, TRANSLUCENT
CIRCUIT BOARD that was taped to the inside. He tosses it to
the Blonde Man, who's standing just outside the van.
LYDEKKER (CONTD)
Get rid of that. Think everybody's
heard enough.
The Blonde Man disappears from sight. Lydekker turns his
attention back to Peter.
110.
LYDEKKER (CONTD)
And now it's time for our little
test to come to an end.
Lydekker nods to the CONTROL SERVER, bolted to what appears
to be the wall. Peter stares at him, dumbfounded.
LYDEKKER (CONTD)
We had to know Conficker worked.
Director didn't think it would, to
be honest. Wanted plausible
deniability. So I suggested making
it a carrot. Figured hacker trash
would jump at the chance to take it
from us.
Peter's stunned. Lydekker grabs Marchee's hair, yanking her
towards him.
LYDEKKER (CONTD)
I don't have all day, Petey.
Civilization's crumbling out there.
Peter struggles to process this new information.
Lydekker gestures with the gun. Peter approaches the
terminal, cautious. Starts typing. Lydekker keeps one eye
on Marchee, who's still struggling to remain conscious.
LYDEKKER (CONTD)
Don't look so glum, its just a
tool. It's protection.
EXT. BROADWAY BETWEEN 34TH AND 35TH - SAME
Dublonski stands just outside the van, gun drawn. Rick
hovers over the Blonde Man a short distance away, who's
cuffed and gagged, sitting cross-legged on the ground.
INT. SPRINTER VAN - SAME
Back inside the van, Peters typing --
PETER
Is that what you tell yourself in
Tailored Access Operations?
Lydekker smirks. Peters smarter than he thought.
PETER (CONTD)
Thats what you call it, right?
TAO. Very zen name for NSA
skunkworks.
LYDEKKER
Its our world, Petey. We have to
maintain control.
111.
On the screen, Peter opens something called POWER CONTROL

SETTING.
Lydekker looks out the van door, scanning for any movement.
He cant see Dublonski --
LYDEKKER (CONTD)
Tick tock...
EXT. BROADWAY BETWEEN 34TH AND 35TH - SAME
Dublonski listens from outside the van, waiting.
INT. SPRINTER VAN - SAME
Peter is in BATTERY EMERGENCY SETTINGS. He adds a 0,
changing a "100" to "1000". The number turns RED and a
HISSING SOUND starts from somewhere. Quiet.
LYDEKKER
I know you see me as the bad guy
here, but we're doing good work
together. Important work. It's
just too bad neither of youll see
the results.
Peter finishes typing. Turns.
LYDEKKER (CONTD)
Are you finished?
PETER
Almost.
Dublonski appears in the doorway behind Lydekker, sidearm
poised and ready.
DUBLONSKI
Norm. Put the gun down.
Lydekker turns, sees Dublonski, starts to laugh.
LYDEKKER
Look at you. Caught up in the
final turn.
Peter looks up and sees the vans SLIDING DOOR, now on the
ceiling.
DUBLONSKI
Put the gun down and let these two
walk away.
LYDEKKER
Fletcher!
112.
DUBLONSKI
He's not coming. It's just you and
me.
The HISSING is louder, gradually increasing. Lydekker steals
a glance back at Peter before returning to Dublonski.
LYDEKKER
We're on the same side here. This
is all for our protection.
DUBLONSKI
Protection from who?
Dublonski reaches out and grabs Marchee, keeping her gun
trained on Lydekker. She helps her out of the van. Lydekker
stutter steps to intervene, but hesitates.
LYDEKKER
You're not going to shoot me.
In a flash, Lydekker swings the gun around to Dublonski and
takes a SHOT --
She FIRES BACK, hitting him in the leg --
Peter OPENS the sliding door / roof --
The HISSING is at a ROAR --
Peter JUMPS and SCRAMBLES out of the van as Lydekker turns
and FIRES at him --
EXT. BROADWAY BETWEEN 34TH AND 35TH - CONTINUOUS
Dublonski pulls Marchee away as Peter hops down from the
"roof". Rick moves to intervene, but --
PETER
Run!
Peter, Dublonski, and Marchee scramble away from the van, the
HISSING now loud even outside --
DUBLONSKI
What is that?
PETER
Batteries.
BOOM -- glass shatters as the van CONCUSSIVELY EXPLODES from
the inside --
Peter, Dublonski, and Marchee are THROWN to the ground a
short distance away.
113.
They pant. Slowly, civilization starts to fade back in.

Cell phones ring. Traffic lights work. A SIREN is heard in
the distance as someone's 911 call finally connects.
Dublonski looks at Peter. Marchee's a bloody mess, still
handcuffed, still struggling for consciousness.
DUBLONSKI
Police will be here in a few
minutes.
PETER
I'm not leaving her.
DUBLONSKI
I cant promise what happens if
they arrest you.
PETER
I'm not leaving her alone.
DUBLONSKI
No. You're not.
The SIRENS grow louder. Peter stares at her a moment, then
understands. A silent thank you.
He kisses Marchee on the hair, then gets up and heads toward
a building. Disappearing around a corner.
Rick watches him go, not making any move to intervene.
Dublonski leans back on her hands, Marchee's head in her lap.
She strokes Marchees hair, maternal. Closes her eyes as the
sirens approach...
FADE TO BLACK.
FADE IN:
HANDS FLIP PAGES IN A REPORT. POV from across a desk.
INT. FBI NEW YORK OFFICE - ZALPOWICZ'S OFFICE - DAY
Zalpowicz flips through a report, squinting through READING
GLASSES. Dublonski sits across, waiting. Zalpowicz finishes
the last page and rubs the bridge of his nose.
ZALPOWICZ
What is this?
DUBLONSKI
Its the final report on the Crown
investigation --
114.
ZALPOWICZ
Dont be a smartass. Youre better
than that.
Dublonski shrugs -- thats what it is.
ZALPOWICZ (CONTD)
Okay. This is the game you want to
play? You want me to file this?
DUBLONSKI
I brought it to you first, Dan.
Zalpowicz thinks for a moment, drumming his fingers.
ZALPOWICZ
This programs still operational?
DUBLONSKI
As far as I know.
ZALPOWICZ
The director can't afford to go toe-
to-toe with the NSA.
DUBLONSKI
I can. So can you.
Zalpowicz knows she's right, but doesn't like it.
ZALPOWICZ
Any hope you had of staying in the
fold will be gone. Theyll take
your pension. Crucify you.
(beat, thinking)
Same for me, I suppose.
DUBLONSKI
So much for being good lifers.
Zalpowicz lets out a slight smile, nods -- how things have
changed. He closes the file.
ZALPOWICZ
Theres one more thing. Rick's
been following up on the forensics,
says he can prove neither Elix or
Ramsey were "Crown." Id tell you
how but he started using words like
IPs and timestamps and I tuned
out.
DUBLONSKI
Elix was lying?
115.
ZALPOWICZ
Means we still have one suspect
unaccounted for.
Dublonski thinks about what that means. Zalpowicz looks at
her, carefully.
ZALPOWICZ (CONTD)
Any thoughts on who it might be?
Dublonskis still putting the pieces together...
ZALPOWICZ (CONTD)
Mary?
Dublonski snaps out of her trance, looks up at him. Smirks.
PETER (V.O.)
This is how you invent a villain.
CUT TO:
INT. CYBERCRIME OFFICE - DUBLONSKI'S OFFICE - NIGHT
Dublonski clicks on the fluorescents. She takes stock -- the
pictures, the knick-knacks. Home away from home.
PETER (V.O.)
Governments spend millions of
dollars and man-hours hunting
individual cyber criminals across
the globe while their own programs
are more dangerous than we could
ever be.
INT. ANNAS HOUSE - KITCHEN - NIGHT (FLASHBACK)
A year-younger Peter and a year-younger Anna argue in her
kitchen --
ANNA
Because its not your job to take
on the NSA.
PETER
Its not a -- I havent had a job
since high school.
ANNA
Peter --
PETER
Theyre making a super weapon and
passing it off as a wiretap. We
cant just -- I got caught, okay?
Theyre coming.
(MORE)
116.
PETER (CONT'D)
Whats the point of helping the FBI
if I cant do some real good?
Anna sees the passionate plea on his face. She relents.
INT. ANNAS HOUSE - KITCHEN - NIGHT (FLASHBACK)
Later. Peter sits alone in the kitchen, waiting. Looking at
the clock, drumming his fingers.
PETER (V.O.)
The trouble is that no one wants to
lead a charge against procedure.
Fight a war against policy.
(beat)
But that doesnt mean you cant
trick them into doing it anyway.
The door BURSTS OPEN and FBI agents swarm in SHOUTING.
INT. ANNA'S HOUSE - BASEMENT ROOM - NIGHT (FLASHBACK)
Peter sits on the floor in Anna's basement, typing away at
his laptop. Hes wearing the GPS MONITOR.
PETER (V.O.)
So you invent a miscreant. A
terrorist. A human target who
represents the evil youre trying to
expose.
CLOSE ON THE SCREEN as Peter types his user name: C-R-O-W-N.
INT. DUSK NIGHTCLUB - PRIVATE ROOM - NIGHT (FLASHBACK)
Teknine, Elix, Ramsey, Marchee, and Peter all listen to
Crown giving them instructions over the phone.
PETER (V.O.)
Then you recruit the dangerous, the
true black hats. The ones who want
nothing more than to watch the
world fall to pieces.
INT. CAESARS CASINO - PETERS ROOM - NIGHT (FLASHBACK)
Peter points to CIRCLED SURVEILLANCE PHOTOS that Dublonski
holds out for him, identifying suspects.
(In the timeline, this takes place before the scene where
Peter explains to Dublonski what he did to get arrested.)
PETER (V.O.)
You wrap them up in a tight little
package and steer the attack dogs
right to them.
(MORE)
117.
PETER (V.O.) (CONT'D)

Without realizing it, the right
hand is suddenly investigating the
left.
INT. BMW / EXT. SIDE ROAD - NIGHT (FLASHBACK)
Back in the BMW Peter and Marchee stole. He watches her
stare at the SHATTERED PHONE in her hands, REAL FEAR in her
eyes. He makes a decision.
PETER (V.O.)
But you made a mistake. You cast
too wide a net. You snared
innocents. Victims. And its too
late to call it off.
INT. CAESARS CASINO - SURVEILLANCE ROOM - DAY (FLASHBACK)
ON A MONITOR, Peter is standing next to Teknine, staring
directly into the SECURITY CAMERA. Determined.
PETER (V.O.)
So you decide to take control.
Peter walks way from the camera.
INT. SHITTY HOTEL - BATHROOM - NIGHT (FLASHBACK)
Anna stitches up Peters side --
ANNA
You said you were going to do some
real good. Was that bullshit?
INT. SHITTY HOTEL - ROOM - NIGHT (FLASHBACK)
Peter watches Marchee sleep in the moonlight.
PETER (V.O.)
You realize some things are more
important than a crusade. You
change tactics.
Peter gets out of bed --
EXT. STREET OUTSIDE 7-ELEVEN - NIGHT (FLASHBACK)
Peter paces, new burner phone in his hand, debating whether
or not to make the call to Dublonski.
PETER (V.O.)
You protect the ones you care
about, no matter what it costs. No
matter how long it takes.
118.
Peter raises the phone to his ear.

CUT TO:
INT. HOSPITAL - PATIENT ROOM - DAY
Quiet. Still. Light streams through the window.
Marchee lays asleep, recovering from her injuries, handcuffed
to the hospital bed. A NURSE is removing her IV.
Marchee blinks awake and looks up at the nurse --
It's Anna. Neither says anything. Anna gives Marchee a
slight smile, and then walks out of the room.
Marchee looks down at her wrist --
Anna unlocked the handcuff.
Marchee cautiously gets out of bed, looks out the door.
Nurses are walking around, no one's paying her any attention.
INT. HOSPITAL - HALLWAY - DAY
Marchee pokes her head out the door to see an empty chair
where a guard should be.
She walks down the hall, still in her robe. Ignored.
PETER (V.O.)
Then, you disappear.
Dublonski packs up her desk into boxes. She removes pictures
from the walls, paperclips and rubber bands from drawers.
PETER (V.O.)
You get startup cash from an ATM.
Get a fake ID. Take a bus to
Virginia. Charter a flight to
Maine. Amtrak to Boston. Then head
to Europe -- Logan to Frankfurt,
Munich to Milan, Sorrento to London,
Liverpool to Copenhagen, Stockholm
to Madrid, Barcelona to Rio, Sao
Paulo back to Guayaquil, Ecuador.
Make your trail so long and twisted
no sane person would ever take the
time to look for you.
INT. SYSTEC OFFICE - STEVE FARROW'S OFFICE - DAY
A few SUITS crowd the office of Steve Farrow, Peter's friend
who works in security for the stock market. They're arguing
over a report while Steve tries in vain to defend himself.
119.
PETER (V.O.)
You create a good day at the
market. Build a nest egg. Invest
wisely, securely, anonymously.
INT. ANNA'S HOUSE - KITCHEN - DAY
Anna opens a PACKAGE on her kitchen table.
PETER (V.O.)
Wire money to family every month.
When you can, reach out directly.
Anna pulls a NEW LAPTOP out of the box. A note on top --
GIVE THIS TO MIKE IF HE KEEPS THE SWEARING DOWN. -P
PETER (V.O.)
Expect it to be hard. Expect them
not to understand, to scream, to
yell, to cry. Ask their
forgiveness. Do anything you can
to help them.
Another envelope. Anna opens it --
A $200,000 check from some foreign account. In the "memo"
field: PRINCETON. She turns it over -- a sticky note:
GIVE THIS TO HIM REGARDLESS
Anna tears up, overcome with emotion.
Back in her office, Dublonski sits down at her computer. All
her stuff has been packed in bankers boxes.
PETER (V.O.)
Villains are useful. Valuable.
They put the world in focus. Help
you understand whats most
important.
An IRC WINDOW pops up on Dublonski's screen --
CROWN: happy birthday
Dublonski looks at the message. Watches the cursor blink.
PETER (V.O.)
You just have to remember: theyre
never exactly who you think they are.
With a sigh, Dublonski turns off her monitor and we --
CUT TO:
120.
EXT. BEACHSIDE BAR - DAY

ON A SCREEN: FBI_Dub has logged off.
Peter looks up from his laptop, which sits on the bar. Hes
tan, healthy, content. He shuts his laptop and turns to his
left, where Marchee is sitting next to him. Slight sunburn on
her pale skin, mostly-finished Mai Tai in front of her.
PETER
You good?
MARCHEE
No. Hate this place.
She slurps down the rest of her Mai Tai with a wink and
starts walking toward the water. Peter turns to the
BARTENDER --
PETER
Disculpe, me podria cuidar esto por
momento, por favor?
The bartender nods and puts the laptop under the bar. Peter
turns and runs to catch up with Marchee, feet gliding over
the wet sand.
FADE OUT.

CROWN by Max Hurwitz

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

CROWN by Max Hurwitz

Uploaded by

Copyright:

Available Formats

CRWN

No one knows who designed it.

And only one man is capable of stopping it.

START MOTION PICTURES

EXT. POWER PLANT - PARKING LOT - DAY

INT. UNDERGROUND - NIGHT

A PUFF OF SMOKE escapes from the latch. Barely noticeable.

The title STUTTER-FLASHES OUT, giving way to a BLINKING

Dublonski steps aside as Rick pulls his PISTOL --

EXT. SUBURBAN HOUSE - BACK YARD - NIGHT

INT. CYBERCRIME OFFICE - DIGITAL FORENSICS - NIGHT

Dublonski holds his gaze, not refuting him. Zalpowicz looks

INT. BLACK TOWNCAR / EXT. LOWER MANHATTAN STREETS - DAY

INT. ANNA'S HOUSE - BASEMENT ROOM - NIGHT

Peter hesitates a moment, then hits YES --

EXT. HIGH LINE PARK - DAY

Peter whips around -- standing right behind him is an NSA

INT. DUSK NIGHTCLUB - BAR - NIGHT

INT. CAESARS CASINO - SURVEILLANCE ROOM - SAME

Peter reaches for it, adrenaline spiking through the roof --

MODULATED VOICE (PHONE) (CONTD)

Everyone turns to Elix, who snaps out of his reverie.

Dublonski takes a pull from the small bottle.

Marchee turns back to Peter, alarmed --

EXT. PARKING GARAGE - CONTINUOUS

The STOPLIGHT up ahead just turned YELLOW. Peter jams on the

EXT. SIDE ROAD - DAWN

INT. BMW / EXT. SIDE ROAD - SAME

INT. CAESARS CASINO - SURVEILLANCE ROOM - SAME

INT. CAESARS CASINO - UPSTAIRS HALLWAY - DAY

EXT. CAESARS CASINO - ACROSS THE GAMBLING FLOOR - SAME

INT. CAESARS CASINO - BLONDE MAN'S ROOM - SAME

Peter pockets the Blonde Man's keys. He looks up at a DOME

INT. CAESARS CASINO - SURVEILLANCE ROOM - DAY

Peter sees motion out the window --

INT. UNDERGROUND GARAGE - SAME

Marchee TURNS ON THE BRIGHTS. The sudden light change causes

Teknine starts picking at his thumb nail. Dublonski looks

Rick's tone is calm, confident. Dublonski knows he's right,

They look at each other for a beat. He leans in to kiss her,

He rolls over and tries to go back to sleep. Dublonski RIPS

Lydekker suddenly GRABS DUBLONSKI and SLAMS HER against the

INT. SHITTY HOTEL - ROOM - PRE-DAWN

Outside the window, a billboard FRITZES OUT. Then another.

Nothing. She chucks it.

Traffic's stopped, Rick can't drive any closer. Dublonski

Marchee looks at him, struggles to remain conscious.

On the screen, Peter opens something called POWER CONTROL

They pant. Slowly, civilization starts to fade back in.

PETER (V.O.) (CONT'D)

Peter raises the phone to his ear.

EXT. BEACHSIDE BAR - DAY

You might also like