EQUITUM: a Latin word for knight or HORSEMAN.
BLACK SCREEN.
SUPER: EAST BERLIN, GERMANY - WINTER, 1962
A phone rings.
Genres:
["Drama","Thriller"]
Ratings
Scene
2 -
Race Against Time
INT. DINGY BEDROOM, EAST BERLIN APARTMENT - NIGHT
A young man is unconscious and sprawled out on a bed. This is
PETER CULLEN. He's twenty, sculpted like an Olympian, his
face a deceptive blend of charm and mischief.
He sits up methodically, a statue coming to life. His hands
rest on his knees, grounding himself. He breathes deeply.
He sits by the side of the bed and looks down at the combat
boots on his feet, a silenced pistol, and a manila envelope
to his left—not unfamiliar to him.
Peter finally answers. A MALE VOICE is on the other end -
MALE VOICE (V.O.)
Peter Cullen. Congratulations on
getting to the final phase of your
training. Don't celebrate just yet.
There's no consolation prize if you
fail your mission.
PETER
Where am I?
MALE VOICE (V.O.)
You're in a safe house in East
Berlin.
PETER
I have no memory of how I got here.
MALE VOICE (V.O.)
Chloroform tends to do that. Open
the envelope.
Peter opens the envelope and finds intel on his mission: a
man in his fifties, code-named "Trojan." His eyes light up.
MALE VOICE (V.O.)
Don't let your emotions interfere
with the mission. He used to be one
of ours, but he's a shifty bastard.
(a map with coordinates)
(MORE)
MALE VOICE (V.O.) (CONT'D)
We believe he's attempting to sell
intel in a bar near the border.
It's marked on your map.
PETER
What's my timetable?
MALE VOICE (V.O.)
Our source says the drop's going
down in about an hour, which leaves
you with under five hours to
complete your mission.
PETER
Does time work differently in
Berlin?
MALE VOICE (V.O.)
You have under an hour to eliminate
the Trojan and secure the files.
However, you have four hours and
fifty-five minutes to complete your
mission and make it across the
border to an asset standing by with
your cure.
PETER
Cure?
MALE VOICE (V.O.)
You've been injected with a deadly
poison and you have four hours and
fifty-four minutes to inject
yourself with the cure before it
kills you. You should be feeling
its' early effects right about now.
(Peter moans)
The room's walls seem to inch
closer. A claustrophobic embrace
encircles Peter.
MALE VOICE (V.O.)
(yells out)
Focus, Cullen! Remember your
training.
Peter steadies himself. Eyes shut. He rests his hands down
and breathes in and out to a steady metronomic pulse. He
opens his eyes. Fully dilated pupils see the room widen and
slowly come back into focus.
MALE VOICE (V.O.)
Are you operational, Mr.Cullen?
Peter's gaze follows a dormouse scurrying across the room,
disappearing into a crack in the wall. He blinks,
uncertain—was it real?
MALE VOICE (V.O.)
Mr.Cullen?
PETER
(a deep breath)
Any other congratulatory gifts I
need to know about?
MALE VOICE (V.O.)
Now that you mention it, we've
tipped off the Stasi about an
American operative running around
near the border.
Of course, you did. Peter hears sirens and checks his pistol.
MALE VOICE (V.O.)
No one said this would be easy.
Peter spots the STASI swarming the building through the
window.
PETER
How will I know who the asset is?
MALE VOICE (V.O.)
He'll find you.
The line disconnects. Peter quickly pockets a wad of Deutsch
marks, the pistol, the intel, and a West German diplomatic
passport named Karl Mueller.
He heads to the door and peaks out. Footsteps and radio
chatter echo in the hallway.
Peter shuts the door and darts to the window. He proceeds out
and begins to climb up a drain pipe to the -
Genres:
["Thriller","Spy","Action"]
Ratings
Scene
3 -
Rooftop Escape
EXT. ROOF, EAST BERLIN APARTMENT BUILDING - CONTINUOUS
He examines the distance to the adjacent building and leaps
safely across, straight to the feet of a STASI OFFICER. The
jittery officer keeps his gun fixed on Peter.
STASI
(subtitles: German)
Stay down!!
Peter carefully stands with his hands up. His eyes never off
the gun five inches from his nose.
PETER
Calm yourself, Fritz... Let's not
make any sudden moves -
STASI
Stay down, I said -
As the Stasi reaches for his radio, Peter's training kicks
in. He disarms and incapacitates the officer with a precise
chokehold, leaving him unconscious before scanning the area
alertly.
He shouts into the radio -
PETER
The American is heading east!
DARK ALLEY
Peter makes his way down a fire escape and watches the Stasi
patrol rush off from behind a corner. He vomits.
Genres:
["Thriller","Action"]
Ratings
Scene
4 -
Desperation at the Door
EXT. BAR, EAST BERLIN - LATER
Peter pretends to be drunk and violently bangs on the door.
PETER
Let me in! I know my girlfriend is
in there!
As The BAR OWNER opens the door -
BAR OWNER
What do you want, you crazy drunk!?
You stink of vomit!
Peter tries to force himself inside while the bar owner holds
him back. He spots TROJAN sitting alone. Trojan goes for his
gun.
PETER
Don't fuck with me, I know she's in
here! Agatha! Come out, you
cheating whore!
The bar owner chucks Peter down the front steps.
BAR OWNER
Bar's closed! Get out of here
before I call the Stasi, and you
become someone's girlfriend in
Hohenschönhausen!
The bar owner slams the door shut.
Genres:
["Thriller","Drama"]
Ratings
Scene
5 -
Confrontation in the Shadows
EXT. BACK ALLEY, EAST BERLIN BAR - - MOMENTS LATER
Peter spots a window leading into a bathroom in the back of
the bar.
INT. BAR, EAST BERLIN - CONTINUOUS
The bar owner answers a ringing phone and hands it to Trojan.
TROJAN
(subtitles: Russian)
Where are you?
RUSSIAN (V.O.)
The deal's off. The Americans know,
and so does Zakharov. You need to
get out now!
Trojan hangs up.
TROJAN
(to the bar owner)
You should leave.
The lights go out. The very nervous bar owner runs out the
front door. Trojan pours himself a shot of vodka and slams it
back.
TROJAN (CONT'D)
You can come out now.
Peter steps out from the shadows, pistol aimed at Trojan. He
pauses, sizing up his target. Trojan stands tall,
unflinching. In that moment, Peter recognizes the formidable
challenge ahead.
PETER
Toss it.
TROJAN
(tosses his pistol away)
That drunk angry boyfriend bit was
pretty convincing.
PETER
It wasn't that much of a stretch.
(Trojan laughs)
Something funny?
Trojan continues to laugh and pours two glasses of vodka.
TROJAN
Have a drink before you pass out,
trainee.
Peter struggles to stand still and simultaneously point the
gun. But he manages to fight through the poison.
PETER
Charles Cullen.
TROJAN
Doesn't ring a bell.
PETER
It should. You killed him. What's
the going rate for selling out one
of your own?
TROJAN
You're out of your depth, kid.
Peter forces the barrel into Trojan's temple.
PETER
Am I?
TROJAN
Christ... The old man's got you
kids eating out of the palm of his
hand, doesn't he?
Sirens distract Peter. Trojan lunges forward to disarm him.
The two exchange pinpoint accurate blows and parries.
Trojan, towering and menacing, has Peter cornered. With a
broken vodka bottle, he lunges for a lethal blow. Peter's
pushed to his limits, desperately holding him off as the
jagged bottle inches closer to his face.
Peter shuts his eyes, focusing. A steady, metronomic pulse
echoes in his mind. Then, with a sudden clarity, Peter's eyes
snap open, pupils fully dilated, ready to turn the tide.
TROJAN (CONT'D)
(re: Peter's eyes)
SYNO... Son of a bitch.
Peter gets the upper hand and has Trojan in a deadly
headlock. Trojan can't fight it. And SNAP!
CUT TO:
OPENING CREDITS:
A minimalist, animated title sequence infused with
psychedelic visuals and surreal Alice in Wonderland symbols
is set to White Rabbit by Jefferson Airplane.
SUPER: CHAPTER ONE: DOWN THE RABBIT HOLE
We hear a marching band's drumline playing a charging rhythm.
FADE IN:
SUPER: MASSACHUSETTS - DECEMBER, 1960
Genres:
["Thriller","Action","Espionage"]
Ratings
Scene
6 -
A Touchdown in the Snow
EXT. HIGH SCHOOL FOOTBALL FIELD - EVENING
Thick snowflakes fall over a roaring CROWD as they watch two
MASSACHUSETTS HIGH SCHOOL FOOTBALL TEAMS line up.
A hulking quarterback, MIKEY WALSH, gets a hiked ball and
scrambles behind the clashing OFFENSIVE and DEFENSIVE LINES.
A LINEBACKER sacks Mikey. The crowd erupts.
TEAM BENCH
COACH DUNPHY stares at Peter Cullen, arms crossed, blowing
bubbles with his chewing gum.
Coach Dunphy's fiery gaze steams the snow off his bald head.
COACH DUNPHY
(to his assistant coach)
What the hell is he doing?
The ASSISTANT COACH looks over at Peter.
ASSISTANT COACH
I think he's trying to catch
snowflakes with his gum bubbles.
That's exactly what he's doing. After catching a couple, he
looks at his coach with a child-like grin.
FIELD
Mikey launches a long ball to a WIDE RECEIVER, who takes a
monster hit. He's down and badly hurt-a dull roar of concern
from the crowd.
The REF blows his whistle and calls for a medic.
TEAM BENCH
The TEAM DOCTORS run out with a stretcher.
COACH DUNPHY
Ah, shit... Cullen! Take your thumb
out of your ass!
Peter blows another bubble and eyes his coach.
COACH DUNPHY (CONT'D)
You're subbing in for Donnelly.
Peter's bubble pops. He stands up and starts stretching,
making it a spectacle.
COACH DUNPHY (CONT'D)
What the hell are you doing? Get
out there and sub in for Donnelly!
PETER
I haven't finished stretching -
COACH DUNPHY
Move!! Slant right, post option.
Don't make me regret this.
Peter slams his helmet on.
BLEACHERS
A man wearing an expensive trench coat and fedora stands by
the exit. His piercing eyes fixed on Peter. This is CHARLES
CULLEN (50s).
MAYOR ROBERT WALSH (60) walks over to Charles.
CHARLES
(what does he want?)
Mr. Mayor.
MAYOR WALSH
Congressman. I didn't expect to see
you here. I thought you were in
Washington.
Charles lights a Lucky Strike, barely acknowledging him.
CHARLES
Not exactly.
MAYOR WALSH
(re: Lucky Strikes)
They say those are bad for you.
CHARLES
I've had worse.
MAYOR WALSH
(okay...)
So, Mikey got into Boston College.
The two watch Mikey chastise his offensive line.
CHARLES
(indifferent)
Good for him.
MAYOR WALSH
I heard about Peter's Harvard
scholarship getting thrown out.
It's a shame. I would have figured
Yale, though.
Peter runs out onto the field.
CHARLES
(eyes on Peter)
You would have figured it wrong.
MAYOR WALSH
What will he do about college?
How much more of this patronizing small talk can he endure?
CHARLES
I never thought my son's college
career would become a serious topic
of conversation in the Mayor's
office.
MAYOR WALSH
I didn't mean anything by it.
CHARLES
I know what you meant. Don't you
have a re-election campaign to
worry about, Robert?
MAYOR WALSH
Yes. And I can sure use an
endorsement. With Jack moving into
the White House -
CHARLES
(amused)
"Jack"...?
MAYOR WALSH
I meant President Kennedy. I
figured since the two of you went
to boarding school together -
CHARLES
Robert, I'm trying to watch my
son's last game. If you don't mind.
Walsh gets the gist.
MAYOR WALSH
Please congratulate the President
for me.
FIELD
Peter joins the huddle.
MIKEY
Shit, Cullen, d'you see the clock?
PETER
Yeah...yeah. Slant right - uh -
shit, what was it again?
The PLAYERS IN THE HUDDLE all moan.
PETER (CONT'D)
(remembers)
Post option!
MIKEY
Are you sure?
PETER
Just throw me the damn ball,
princess.
MIKEY
Fuck you, Cullen! You better catch
that ball!
(to the players)
Slant right, post option. Break!
The two teams line up on the fifty-yard line.
TEAM BENCH
Both coaches watch Peter position himself wide.
COACH DUNPHY
I hate that entitled brat.
ASSISTANT COACH
(smirk)
He sure can run, though...
FIELD
Mikey ready's himself behind his CENTER.
MIKEY
Red thirty-three! Red thirty-three!
Hut! Hut! Hut!
The center hikes the ball to Mikey. Peter darts off past his
GUARD. He cuts right through the middle. Mikey scrambles and
launches a bomb to Peter. Peter jumps, leaps, and catches the
ball with one hand.
He charges down the field with blistering speed and weaves by
player after player. It's a sight to behold.
Touchdown! The crowd goes wild. Peter hands the ball to the
ref and doesn't celebrate with his team as they maul Mikey.
Peter stands alone by the end zone. He removes his helmet and
locks eyes with his father, hoping for some semblance of
praise, but... Nothing from Charles before he turns and walks
away. What else is new?
The assistant coach heads over to Peter.
ASSISTANT COACH
Nice catch, Cullen.
PETER
(turns to him)
Right. Thanks.
Someone shouts out in a thick Boston accent.
MURPH (O.S.)
Look at this guy! Last game of the
season, and benchwarmer Peete over
here thinks he's Jimmy fuckin'
Colclough!
Two high school seniors surprise Peter: the towering JOHNNY
MURPHY, who goes by Murph, and the portly ginger, BILLY
KELLY.
MURPH (CONT'D)
Did you need to stretch, or was
that just to piss off Coach Dunphy?
PETER
Bit of both.
BILLY
I can't believe that crazy asshole
got your scholarship thrown out.
PETER
Angry, Irish high school football
coaches tend to dramatically
overreact after catching their
daughter in bed with a player.
Murph puts his arm around Peter as they head off the field.
MURPH
Live and learn, my friend. She's a
six at best.
PETER
Christ, Murph. What the hell is
that smell?
BILLY
Essence of scuzzbucket. Johnny
lover boy drowned himself in that
shit to impress Shannon McGinty at
Flanagan's tonight.
PETER
Mikey's girl?
MURPH
What? You think he'll mind?
PETER
Probably, but I'm sure that won't
stop a sleazebag like yourself from
trying.
BILLY
You still coming to Flanagan's
tonight, Pete?
As Peter scans the crowd for his dad, he notices a beautiful
twenty-year old staring at him. This is NATALIA LUBCHENCO.
More on her later.
MURPH
Hello? Who are you looking for?
PETER
Huh? No one. Just promise me you
won't do anything stupid tonight,
Murph. Mikey's inner Neanderthal
tends to come out after a win.
MURPH
Me, stupid? Since when?
BILLY
Us at a party with drunk jocks and
their girlfriends. What can go
wrong...?
Genres:
["Drama","Sports"]
Ratings
Scene
7 -
Keg Stand Showdown
INT. FLANNAGAN'S HOUSE - LATER
It's a rowdy party. Too many drunk teenagers with no adult
supervision are spread out in a spacious and upscale suburban
home.
KITCHEN
This is where the kegs are. Billy stands guard by one of the
kegs as Murph holds court for Peter and several SENIORS.
MURPH
(to Peter)
Do you wanna tell them what
happened, or can I?
PETER
Murph, really -
MURPH
(to the group)
D'you guys hear how Dunphy put the
kibosh on Cullen's scholarship?
SENIORS
BOOOOOOO!
MURPH
Yeah. The crazy asshole caught Pete
and Sadie Dunphy playing a little
beach blanket bingo -
PETER
We weren't doing that. I don't kiss
and tell.
MURPH
Right. As if we're supposed to
believe that you and Sadie were in
her bedroom doing calculus on a
Saturday afternoon.
(they all laugh)
No. Coach didn't buy that story
either, so he chased him down three
square blocks! And it gets worse.
(beat)
I don't know if you've noticed, but
Irish alcoholic Yul Brenner ain't
in what I'd call "shape." And we
all know that Pete's faster than an
ice cream truck chasing Billy
beanbag after he stole all the
Klondike bars.
The seniors burst out laughing. Not Billy.
BILLY
They were ice cream sandwiches, you
hardon!
FEMALE SENIOR
So, what happened?
MURPH
What do you think happened? The
crazy mick had heart attack! When
did you figure out the old man went
down, Pete? Between the third and
fourth block?
(Peter shamefully nods)
And what did you do then?
Peter mumbles something unintelligible.
MURPH (CONT'D)
He stopped running and jumped on
the fuckin' bus!
A heavy laugh from the entire kitchen.
PETER
(tongue in cheek)
It wasn't a heart attack. But I do
kind of feel bad about it.
Murph and Peter spot Mickey Walsh and the rest of the JOCKS
roll in. The pretty and overly confident SHANNON MCGINTY not
too far away from her fellow CHEERLEADERS.
MURPH
Christ, are they sold separately,
or do they only come in packs?
Shannon approaches the kitchen.
PETER
Why don't you ask her for yourself?
SHANNON
Hey, Kelly. Are you hoarding that
keg for yourself, or are you gonna
pour me a beer?
Murph leans in.
MURPH
(best suave voice)
Hello, Shannon.
SHANNON
(kind of irritated)
Murph...
(smells)
What the hell is that?
MURPH
It's my cologne. Nice, right?
SHANNON
No, it's repulsive.
MURPH
It's an acquired taste.
SHANNON
Yeah, I'll bet.
Peter signals Murph to let it go, then -
MIKEY (O.C.)
Holy shit, it's Cullen and the
dorkcicles! Who the hell invited
you guys?
MURPH
(looks at Peter)
Dorkcicles...?
Mikey's clearly already had a few.
MIKEY
Don't be a greedy ginger, Kelly.
Give me a beer!
(grabs the beer)
Nice catch, Cullen.
PETER
Nice throw...Walsh.
MIKEY
It was, wasn't it? Even Kelly could
have caught that one.
MURPH
You'd be surprised.
Mikey slams the beer back.
MIKEY
You know what your problem is,
Pete? You've been hanging around
these reefer heads too long.
PETER
Reefer heads...? What does that
make you? Punchy?
SHANNON
(to Mikey)
C'mon. Murph's cologne is making me
noxious.
MIKEY
(shrugs her off)
What kind of retard hooks up with
the coach's daughter? You know your
little stunt almost put him in the
hospital? It could have cost us the
season.
PETER
It's high school football. Who
gives a shit?
MIKEY
Maybe if you would have given a
shit, you'd still be going to
Harvard.
PETER
Not all of us have parents who
spend the weekend at Martha's
Vineyard with the dean of Boston
College.
MIKEY
At least my parents are still
around. When was the last time you
saw yours?
BILLY
His mom's dead, you jerkoff.
A dull roar as Peter and Mikey stare each other down.
MIKEY
Shut up and give me another beer,
fat-ass.
MURPH
Nobody calls him a fat-ass but me!
Murph grabs a cup of beer and pours it over Mikey's head.
It's dead silence in the kitchen.
Mikey slowly turns towards Murph, beer dripping down his
face.
MURPH (CONT'D)
Not a fan of pale ales?
POW! Mikey clocks Murph in the jaw. Peter immediately tackles
Mickey to the ground. Billy charges towards the other jocks
and takes three down with him. It's mayhem.
Although Mikey is twice his size, Peter still manages to
pummel him as an uncontrollable rage manifests itself
continuously.
SENIOR (O.C.)
Guys, the cops are here!
As Peter attempts to get off Mikey -
MIKEY
(grabs his collar)
You didn't deserve that
scholarship!
PETER
You're just jealous because you're
an overrated quarterback who
couldn't get one!
POW! Peter knocks him out.
MURPH
C'mon, guys! Let's get the fuck out
of here!
BILLY
What about my keg!?
MURPH
Leave it, fat-ass!
Genres:
["Drama","Comedy"]
Ratings
Scene
8 -
Confrontation Under the Stars
EXT. FLANAGAN'S HOUSE - CONTINUOUS
Everybody scatters in opposite directions.
Peter, Murph and Billy head to the backyard and jump the
fence.
EXT. SUBURBAN STREET - CONTINUOUS
Peter, Murph and Billy think they're in the clear until -
SIRENS! A patrol car screeches over. A young Lurch-looking
patrolman named OFFICER BOBBY DUNPHY steps out.
PETER
Shit...
Officer Dunphy struts over.
OFFICER DUNPHY
Well, well, well. Bless my lucky
stars, Johnny Murphy, Billy Kelly,
and Peter Cullen. You boys wouldn't
know anything about a party with
underage drinking, now would you?
MURPH
Why, Officer Dunphy, what kind of
ruffians do you take us for?
OFFICER DUNPHY
Shut it, Murphy! What about you,
Cullen?
Peter smirks. Officer Dunphy sizes him up.
OFFICER DUNPHY (CONT'D)
Murphy and Kelly beat it!
Murph and Billy hesitate. Office Dunphy threatens them with
his nightstick.
OFFICER DUNPHY (CONT'D)
Did I stutter? Beat it!
PETER
I got this, guys.
Murph and Billy run off.
PETER (CONT'D)
Are you gonna drive me home as a
favour for bailing your old man out
of another loss, Bobby?
Officer Dunphy jams his nightstick into Peter's stomach.
Peter goes down and gasps for air.
OFFICER DUNPHY
That's for my sister.
Genres:
["Action","Thriller","Drama"]
Ratings
Scene
9 -
Uneasy Freedom
INT. POLICE STATION - LATER
Peter is alone in a cell.
OFFICER DUNPHY
Cullen! Daddy just posted bail.
EXT. POLICE STATION - MOMENTS LATER
Charles stands by his Cadillac Coupe Deville. Peter
approaches as though he's about to enter another prison cell.
PETER
Congressman.
CHARLES
Get in.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
10 -
Tension on a Snowy Night
INT/EXT. CHARLES'S CAR - A COUPLE OF MILES LATER
It's silent and awkward. The typical tension and
disappointment-filled father/son drive through quiet, barely
lit streets. Who's going to break first?
CHARLES
Was it worth it?
PETER
Sir?
CHARLES
You throwing your future away for a
bit of revenge on that idiot Dunphy
and becoming a deadbeat like your
friends. Was it worth it?
PETER
When you put it that way.
CHARLES
You have many qualities, son. I
advise you to stop pretending
sarcasm is one of them.
PETER
What's your deal with Murph and
Billy? They're practically family.
CHARLES
Maybe they can bail you out next
time.
PETER
Don't pretend like that wasn't for
your benefit, Congressman.
CHARLES
I've done many things in my life.
But rarely have they ever been for
my benefit.
PETER
Mom's, either.
CHARLES
Your mother understood.
PETER
I think I read that on her
tombstone. "Here lies Vivian
Cullen. She understood..."
CHARLES
Don't ever disrespect your mother!
Peter heeds his father's stern warning. Both seemingly
thinking about the obvious for a beat.
CHARLES (CONT'D)
When will you grow up?
PETER
Why? So I can become a phony stiff
like you?
Charles doesn't know how to talk to him.
CHARLES
You're right, Peter. I am a phony.
But there's a lot about me you
don't know.
PETER
Who's fault is that?
Charles takes a moment to choose his next words.
CHARLES
I'm going to ask you a question my
father never asked me: What do you
want?
PETER
What do I want?
CHARLES
Yes. What-do-you-want? I might not
be around much, but I'm fully aware
of your self-imposed mediocrity,
despite your G.P.A. So what do you
want?
Peter is genuinely thinking about his answer.
PETER
I don't know. What did you want?
CHARLES
I didn't know either. Your
grandfather, the honourable judge
Walter Cullen did all the thinking
for me - well - so he thought. Then
the war broke out freshman year.
What we wanted didn't matter that
much.
Peter's hanging on his father's every word. As though this is
their first real talk as father and son.
CHARLES (CONT'D)
There we were, five Yale freshmen
eager to jump out of a plane
because some little nut job with a
bad comb-over and Charlie Chaplin
moustache thought he was Napoleon.
PETER
Why are you telling me this?
CHARLES
Because you have to decide what
kind of man you'll be, Peter. The
first step is knowing that you
don't know everything and that you
don't have anything figured out.
Once you accept that, two doors
will appear. And in that moment
between the black and the white -
(deep in his thoughts)
- your choice will determine the
rest of your life.
PETER
Hey, dad. Are you alright?
CHARLES
Yes. Look. Do you understand what
I'm saying?
PETER
Yes. Pick the right door.
CHARLES
Close enough.
Snow starts falling heavily as the car continues its drive
down a rural highway road.
PETER
Thanks for coming to my game.
CHARLES
About that... There's something
else we need to discuss. I'll be
going away for a while.
PETER
Like, more than usual?
Peter spots Charles eyeing his rear-view mirror. Charles
notices a station wagon speed up from behind.
PETER (CONT'D)
Dad?
CHARLES
Hang on to something.
Charles slams on the gas.
PETER
(bordering on panic)
In a hurry, dad?
Charles sees the station wagon start slowing down.
CRASH! A Jeep emerges from a cross street and hits Peter's
side. Peter's head violently cracks the window as the car
flips over into a ditch.
Genres:
["Drama","Thriller","Action"]
Ratings
Scene
11 -
Storm of Survival
INT/EXT. CRASHED CADILLAC - MOMENTS LATER
Peter's unconscious. His face is covered in blood. Charles
comes to with a heavy gash on his forehead.
Charles checks Peter's vitals - still alive. He kicks through
his window and gets out.
ROADSIDE
The storm is now a dark haze with near zero visibility, but
Charles manages to spot TWO MEN IN SKI MASKS exit the Jeep.
He shuts his eyes. He steadies his breathing to a slow
metronomic pulse. He's focused. He opens his eyes to fully
dilated pupils. A determined and robotic face emerges.
The two masked men have their guns drawn. MASKED MAN #1
orders MASKED MAN #2 to converge on Charles's car.
Masked man #2 peeks inside only to find Peter still
unconscious.
MASKED MAN #2
(subtitles: Russian)
He's gone. Only the boy is here.
MASKED MAN #1
He couldn't have gone far.
SNAP! Charles swoops in from the shadows and breaks masked
man #1's neck!
Masked man #2 fires two shots in Charles's direction. Both
miss. All he sees is endless black as he carefully
approaches.
The sound of swift footsteps in the snow rush towards masked
man #2. He quickly turns.
Charles lunges in and goes for the pistol. BANG! BANG! Two
shots in the air before the pistol is knocked to the ground.
Masked man #2 arms himself with a serrated blade. Charles
patiently waits for him to make his move - the two square
off, illuminated by the headlights of the crashed Cadillac.
SWAT! Charles confidently parries the first swing. Masked man
#2 goes in for another stab, but Charles counters him into a
defenseless position and snaps his arm.
Charles puts him in a standing arm bar.
CHARLES
(subtitles: Russian)
You're not playing by the rules.
CRACK! There goes the other arm. Masked man #2 goes into
shock from the pain and collapses -
BANG! Charles is hit in the shoulder. He goes down.
Charles slowly crawls towards a pistol.
Genres:
["Action","Thriller"]
Ratings
Scene
12 -
A Father's Last Stand
INT/EXT. CRASHED CADILLAC
Peter barely opens one of his eyes. A blurry haze of what
seems like his father crawls towards him.
The station wagon pulls up to the crash site: a burly MASKED
DRIVER and MASKED SNIPER exit.
The masked sniper gingerly approaches Charles, who lies still
until the footsteps sound just about close enough to -
BANG! Charles rolls and fires hitting the sniper in the arm.
BANG! BANG! BANG! Charles takes three fatal rounds to the
chest from the masked driver.
The masked driver stands over masked man #2, who regains
consciousness. BANG! Single execution tap to his head.
The masked driver kneels by Charles's corpse and jabs his
neck with a syringe, extracting a vile of blood.
He removes his ski mask and reveals a face that's experienced
far too much for his young age. This is ILYA BARINOV.
ILYA
(subtitles: Russian)
Finish the boy.
The masked sniper removes her mask. It's Natalia.
NATALIA
I've been watching him for days.
He's harmless -
ILYA
Natalia, do as you're told!
She opens the door and stares at Peter, hesitant to finish
him but still pointing her rifle.
Peter's half-open eye sees an imposing silhouette, unaware
that his next breath could seemingly be his last.
Suddenly, Ilya gets orders on his radio.
ILYA (CONT'D)
The Police are on their way. Forget
the boy. Let's grab the bodies.
INT/EXT. CRASHED CADILLAC - MOMENTS LATER
Screeching tires are heard. Peter slowly opens both eyes. His
body lies still in the overturned car. He sees Charles's
lifeless body through the window.
Sirens sound in the distance. And in the faintest of voices -
PETER
...Dad...?
CUT TO BLACK.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
13 -
Tension at the Tombstone
EXT. ARLINGTON CEMETERY - DAY
Grey, chilly with snow covered tombstones as far as the eye
can see. PROFESSOR JOSEPH HIGHLAND (60s) stands before a
particular tombstone: David Highland - CAPT - US NAVY - 1925-
A rugged man in his forties approaches. This is AGENT JACK
CLARK.
CLARK
Professor Highland.
JOSEPH HIGHLAND
Agent Clark.
Clark eyes the TWO AGENTS standing "inconspicuously
conspicuous" behind Highland.
CLARK
Boys.
JOSEPH HIGHLAND
Don't mind them.
Clark gives Highland a moment.
JOSEPH HIGHLAND (CONT'D)
We supplied your unit with intel on
"Ivan and Karla." What happened?
CLARK
I question the integrity of your
source.
JOSEPH HIGHLAND
My source is none of your concern.
CLARK
I disagree. Shouldn't I be having
this conversation with the
Director?
JOSEPH HIGHLAND
Plausible deniability, Clark. And
you've fallen out of favor with the
Director. I, on the other hand,
believe you are still a valuable
asset.
(beat)
The op, please.
Genres:
["Thriller","Espionage","Mystery"]
Ratings
Scene
14 -
Silent Vigil
EXT. SUBURBAN HOME - NIGHT (FLASHBACK)
A four-man BLACK OPS TEAM surrounds a house with a flag of
Texas on the front porch.
INT/EXT. PARKED CAR - SAME TIME
Clark sits in a parked car and surveys them through a scope.
Radio by his side.
CLARK (V.O)
Standard four-man sweep for Ivan
and Karla, kill not capture.
Genres:
["Action","Thriller"]
Ratings
Scene
15 -
Silent Execution
EXT. SUBURBAN HOME - CONTINUOUS
The TEAM LEADER spots a middle-aged COUPLE washing dishes
through the kitchen window. He orders the TEAM to move in.
Moments later, the team covertly breaches a door leading into
the kitchen and swiftly takes out the couple with two
silenced headshots.
INT/EXT. PARKED CAR - CONTINUOUS
Clark gets a sit-rep on his radio.
TEAM LEADER (O.S)
Ivan and Karla are down. This was
too easy, sir.
CLARK
(on the radio)
Secure the nest, commander.
Genres:
["Action","Thriller"]
Ratings
Scene
16 -
Shadows of Danger
INT. LIVING ROOM, SUBURBAN HOME - MOMENTS LATER
The team continues ahead until all the lights go out.
TEAM LEADER
Hold... Something's wrong.
A SHADOWED ASSASSIN swoops in like a ghost behind TEAM MEMBER
#2 and slits his neck.
The shadowed assassin uses team member #2 as a human shield
and fires at the other three.
INT/EXT. PARKED CAR - CONTINUOUS
Clark hears silenced gunfire on the radio -
CLARK
Commander, sit rep...
A Beat. Dead air.
Genres:
["Action","Thriller"]
Ratings
Scene
17 -
Confrontation at the Tomb
EXT. NATIONAL MALL - DAY
Highland lights his pipe and puffs out some smoke.
CLARK
Someone cut through my men like
scissors on wrapping paper. Men I
handpicked and trained myself. We
both know Ivan and Karla weren't
spies. What did they walk into?
JOSEPH HIGHLAND
Unconventional warfare, Clark.
CLARK
Run into much warfare with that
expensive microscope, professor?
JOSEPH HIGHLAND
I'm fully aware of your exploits.
Don't presume to belittle mine.
Clark gives him a sharp look.
CLARK
An oversight committee will be
interested in hearing about your
recent exploits.
JOSEPH HIGHLAND
That would be a bad decision.
The two agents turn their attention to Clark and step
forward. Clark stares them down.
JOSEPH HIGHLAND (CONT'D)
Tell me, Clark, how far would you
push your men if it meant
preventing another World War?
(A faint flicker in
Clark's eyes)
You're one of the best. A "Patriot"
with no compunction for morality.
It would be a terrible waste of
resources if that morality were to
cloud your judgment.
CLARK
(this can only go one way)
Someone needs to answer for my
guys.
JOSEPH HIGHLAND
(beat)
Good decision. Let's take a walk.
Highland and Clark walk by the Tomb of the Unknown Soldier.
JOSEPH HIGHLAND (CONT'D)
This is beyond top-secret, Clark.
Nobody knows - not the FBI, the
agency, and not even the President -
despite McNamara's insatiable need
to be debriefed on all ongoing
operations.
CLARK
Ivan and Karla... Who are they?
JOSEPH HIGHLAND
Ivan and Karla aren't two people
but rather a network of Soviet
black ops we've never seen.
CLARK
How many?
JOSEPH HIGHLAND
Difficult to say. But we know what
your men encountered in Dallas
wasn't the only nest.
Highland unfolds a newspaper and points to an article:
Representative Charles Cullen murdered in drive-by shooting
outside Boston.
CLARK
A civilian? Why?
JOSEPH HIGHLAND
Cullen was no civilian. What do you
know about Project Mindfield?
CLARK
Above my security clearance, Doc.
JOSEPH HIGHLAND
Let me fill you in: Mindfield gave
in it's recipients enhanced
synaptic functions, allowing them
to think faster, act faster, and
more importantly - focus.
(beat)
Cullen was the last of only five
operatives in the field. We assume
Ivan and Karla are trying to
replicate it.
CLARK
How long will it take Kennedy to
realize that you and the Director
are fighting a secret war?
JOSEPH HIGHLAND
Contingencies have been put in
place.
CLARK
Contingencies? He hasn't been in
office for a week, and you already
have contingencies?
JOSEPH HIGHLAND
Unconventional warfare can only be
fought with unconventional
soldiers. I've recommended that you
train the candidates.
CLARK
What kind of candidates are we
talking about?
JOSEPH HIGHLAND
Let's say they were born for this.
SUPER: SEVERAL MONTHS LATER.
Genres:
["Thriller","Espionage","Action"]
Ratings
Scene
18 -
Departure and Reflection
EXT. BUS STATION - DAY
Peter reclines on a bench. All that he owns is in two
suitcases by his feet. He stares at a FATHER cleaning the
melting ice cream off his INFANT SON'S hand.
A quick flash of the accident and Charles's dead body pierce
through Peter's head like a dagger. He tries to shake it off.
MURPH (O.C.)
You alright, Pete?
PETER
...Yeah...
Murph hands him a cold bottle of Coca Cola and sits down.
MURPH
Christ, it's hot.
Peter and Murph both knock back the cola. An awkward silence
falls between the two friends despite the rowdy station.
A Greyhound bus pulls up. The BUS DRIVER puts a sign for New
Haven in the windshield.
MURPH (CONT'D)
So, Yale, huh?
PETER
Home of the fighting Bulldogs, and
all that other crap.
MURPH
I imagine you won't be getting much
tale, over there...
PETER
I doubt it.
Peter takes out his Yale acceptance letter.
MURPH
D'you ever figure out how you got
in?
PETER
My dad is - was an alumni. I guess
he was able to pull one last string
before...
MURPH
(thinks, then)
You know I'm not - you know - good
with words and stuff... I'm sorry
we never talked about what
happened.
PETER
Murph, it's cool. I get it.
(puts the letter away)
Besides, what's there to talk
about? I can't remember what
happened, anyway.
Peter's face proves otherwise.
MURPH
At least they caught the scumbags.
PETER
Sure.
The bus driver steps out of the bus.
BUS DRIVER
New Haven!
A line starts forming to get on. Murph and Peter stand. No
words are needed, just a hearty brotherly hug.
Peter lumps his bags with the others by the bus and gets in
line.
MURPH
(shouts)
Don't let those cardigan wearing
cunts fuck with you!
An ELDERLY LADY scowls at him.
MURPH (CONT'D)
(to the elderly lady)
I wasn't talking to you!
Peter smirks and gets on the bus.
INT./EXT. BUS - CONTINUOUS
Peter sits by a window and stares oblivious to anything
around him.
Natalia suddenly enters and walks passed Peter to a seat in
the back.
She gives him a quick look before sitting as the bus leaves
the station.
Genres:
["Drama","Coming-of-age"]
Ratings
Scene
19 -
A Chance Encounter at New Haven Station
EXT. NEW HAVEN STATION - A BUS RIDE LATER
As Peter collects his luggage, he can't help but notice
Natalia collecting hers. One of which has the Albertus Magnus
College crest on it.
The two give each other a quick courteous glance before
Natalia heads off, but not before dropping an art book from
her handbag.
PETER
(picks up the book)
I think you dropped this?
NATALIA
(Canadian accent)
Oh, darn! How the heck did that get
out? Thank you.
Peter hands the book back.
PETER
You're an art major, right?
NATALIA
Yeah. How did you know?
PETER
The art book and A.M.C bag were a
dead giveaway. Plus, it's the only
liberal arts college around here.
NATALIA
Are you an art major too?
PETER
Me? God no! Unless they're
desperate enough to enroll someone
who can't draw.
She belts out a charming but slightly over-the-top laugh.
PETER (CONT'D)
My name's Peter, Peter Cullen.
A slight pause, then her cover name...
NATALIA
Evelyne, Evelyne Dawes.
As the two shake hands, Peter tries to deduce something as he
stares into her eyes -
PETER
Where are you from? Your accent is
particular.
NATALIA
Originally? Nova Scotia.
PETER
Right. You're Canadian.
NATALIA
My father is a diplomat stationed
just outside Boston. Liberal arts
in Connecticut wasn't his idea.
What about you?
PETER
Oh. Norfolk, and Yale. Law...
NATALIA
Yale student...
PETER
Not impressed?
NATALIA
Most of the guys I know who go to
Yale are entitled, legacy, trust
fund brats. But I just met you so,
I won't assume so much...
PETER
(smirks)
Thanks. I think.
A Black sedan pulls up, and a DRIVER exits.
DRIVER
(opens the rear door)
Miss Dawes.
NATALIA
That's me.
(beat)
Norfolk. Yale. Law. Thanks for
saving my book, Peter Cullen.
PETER
Anytime, Miss Dawes.
Evelyne gets in the car. As the driver collects her bags and
puts them in the trunk, she rolls down her window.
NATALIA
If you're ever thirsty, there's a
bar called the White Rabbit not too
far from here. I hear it gets
really busy after eight on
Thursdays.
PETER
Are you asking me out? Usually,
it's the other way around.
NATALIA
Who says I'm asking you out, eh?
Just being a polite Canadian.
PETER
Right...
She rolls up her window, and the cars drives off.
Genres:
["Drama","Romance"]
Ratings
Scene
20 -
A New Beginning at Yale
EXT. YALE CAMPUS - LATER
Peter stands in front of the large arching campus gate. The
impressive stone wall architecture overwhelms him before he
takes his first step into a brave new world.
EXT. YALE QUAD - CONTINUOUS
Peter continues up the courtyard. STUDENTS are spread out on
the grass, and fraternity recruiters hand out flyers to new
aspiring pledges.
One in particular spots Peter after being ignored by several
students. This is CARL GOLDMAN: thick, curly hair and a
little off-putting.
CARL
Salutations. Have you given any
thought for the rest of your life?
PETER
...What?
CARL
(shows hand)
My name is Carl.
PETER
(shakes his hand)
Uh, Peter.
CARL
Have any other fraternities
approached you yet?
PETER
No.
CARL
This is mine. Technically it can
only be a fraternity if someone
else joins. I'm calling it PI IOTA.
PETER
Nice... It has a nice ring, I
guess.
CARL
So, are you interested?
PETER
I'm not the frat type, Carl. But
maybe you can help me? I'm looking
for my dorm.
Peter shows him the location.
CARL
(surprised)
Oh, that's in the Equitum house. I
thought you said you weren't
approached yet.
Peter shrugs. Carl takes out a campus map.
PETER
Thanks.
CARL
Here's a piece of advice: be
careful with Equitum. They might
only seem like trust fund brats,
but they're worse.
PETER
I'll keep it in mind.
Peter heads off.
CARL
I'll be here if you need me.
Genres:
["Drama","Coming-of-age"]
Ratings
Scene
21 -
New Beginnings at Equitum House
EXT. EQUITUM HOUSE - MOMENTS LATER
The building's colonial architectural design stands out with
four black obelisk columns by the doorway.
PETER
Jesus...
INT. EQUITUM HOUSE - CONTINUOUS
Peter lurks in awe of the grand hall and impressive staircase
ahead. But it's eerily quiet for a dormitory. The HOUSEMATES,
minding their books and studies on leather mahogany chairs,
spread out in the hall.
Two boys play chess by a fireplace: MARKUS LOWELL with slick
jet-black hair and an unpleasant resting face anticipates his
opponent's next move. HARRISON SHAW: the fairer of the two
sets his trap with a sinister smile.
The door slams shut behind Peter. All but two housemates turn
their heads at him in a synchronized stare. Markus and
Harrison, still focused on their chess game, play as though
it'll be the last thing they ever do.
VOICE (O.C.)
Can I help you?
A proper, slightly effeminate sophomore student named GEORGE
surprises Peter.
PETER
(startled)
Shit. You scared me. I'm Peter -
GEORGE
Peter Cullen. I'm the house
prefect, George Rockwell.
Markus and Harrison finally acknowledge Peter's presence. The
name Cullen spiked a peak of interest.
PETER
House prefect?
GEORGE
It simply means I ensure students
find their way. You're four doors
to left of the stairs. Follow me.
Peter and George head up the stairs.
Markus and Harrison give each other a suspicious stare.
STAIRCASE
Peter strolls passed portraits of former members.
PETER
How old is this house?
GEORGE
It was the very first house. So if
you've done your reading, you can
answer that question for yourself.
PETER
What kind of fraternity is this?
GEORGE
(annoyed)
The kind that has housed the most
powerful and influential Americans.
PETER
So what are you doing here?
(off George's peeved face)
That was a joke.
They reach Peter's -
DORM ROOM
George knocks and cowers in. A student named EDWARD GRAVES
sits by the window and reads Friedrich Nietzsche's Beyond
Good and Evil.
GEORGE
Edward.
EDWARD
George.
GEORGE
(to Peter)
Don't forget: you have an
appointment with Dr. Highland in
twenty minutes.
PETER
Right. How did you know that?
GEORGE
As I said, It's my role to ensure
students find their way.
As George leaves, Peter unceremoniously drops his bags -
PETER
I guess we're gonna be roommates.
Nothing.
PETER (CONT'D)
My name is -
EDWARD
Do they have books from where you
come from?
PETER
Uh, yeah...
EDWARD
And do people read them?
PETER
Probably not.
EDWARD
(now he looks up)
So you wouldn't have any
inclination of how to act when
coming across a reader in no mood
for small talk.
PETER
This is what you call small talk?
Edward slams his book shut and menacingly approaches Peter,
towering at least five inches taller.
PETER (CONT'D)
I never introduced myself.
EDWARD
That's because I never asked.
PETER
(thinks)
Can I do it anyway?
EDWARD
Textbook use of sarcasm in awkward
situations. I'm sure you were a
real charmer with the skirts.
PETER
You must be a psych major. Now it
makes sense, Edward...?
EDWARD
Graves.
PETER
Did I do something to offend you,
Edward Graves? And please, no more
highfalutin, psych 101 bullshit. It
was a long bus ride.
EDWARD
Highfalutin... Good for you.
Edward sits back down and re-opens his book.
EDWARD (CONT'D)
This is a prestigious school. How
on earth did you manage to con your
way in?
PETER
Listen, slick, if you can pull that
book out of your ass, we're gonna
get along just fine. You dig? And I
assume I'm here just like you are.
EDWARD
Really? How?
PETER
My father.
EDWARD
And who's that?
PETER
Charles Cullen.
He has his attention now.
EDWARD
Congressman Charles Cullen? He's
your father?
PETER
Was.
(beat)
Enjoy your Nietzsche, asshole.
Peter storms out.
GRAND HALL
Peter rushes down the staircase. Markus and Harrison study
his every move.
EDWARD (O.C.)
Cullen!
PETER
(turns)
What...?
Edward paces towards Peter, hat in hand.
EDWARD
I apologize for my behavior. If I
would have known Charles Cullen was
your father, I would have acted
differently.
PETER
I guess psych and Nietzsche can't
teach you everything.
(they shake hands)
Peter -
EDWARD
Peter Cullen, of course. Sorry for
your loss.
PETER
I never would have thought my dad's
name carried so much weight.
Edward chuckles.
EDWARD
I know exactly what you mean.
Markus and Harrison join the conversation.
EDWARD (CONT'D)
This is Harrison Shaw from Falls
Church, Virginia, and Markus Lowell
from Long Island, New York. Boys,
this is Peter Cullen.
Markus nods.
HARRISON
Welcome to the Equitum House.
PETER
Yeah, here's the thing; I never
actually signed up.
HARRISON
Equitum has a long standing
tradition of pre-emptively taking
in its own, assuming they'll prove
their worth -
MARKUS
And quickly dismissing the ones who
don't.
HARRISON
Ignore Markus. He gets a little
grumpy after losing at chess.
FRANKLIN (O.C.)
(southern accent)
And track, too.
FRANKLIN MACARTHUR sways in sweaty from a run. To say he's a
specimen wouldn't be an exaggeration.
EDWARD
That southern shit-heel is Franklin
Macarthur from Dallas, Texas. This
is Peter Cullen.
FRANKLIN
A pleasure.
PETER
How was the run?
FRANKLIN
Refreshing. Do you run, Peter?
PETER
Here and there.
FRANKLIN
You should come to the next track
meet, assuming you're fast enough.
EDWARD
Charles Cullen was a Yale All-
American before the war. We assume
the apple hasn't fallen far from
the tree.
PETER
You seem to know so much about me.
Anything else I need to know?
EDWARD
Dr. Highland will have all the
answers you're looking for.
PETER
Shit! Highland...
EDWARD
(spots George)
George! Show Peter how to get to
Dr. Highland's office.
George waits for Peter.
PETER
Did everyone here see Dr. Highland?
MARCUS
Only the ones that wanted to stay.
EDWARD
(off Peter's suspicious
stare)
You'll figure this place out soon
enough, Pete.
Genres:
["Drama","Mystery","Thriller"]
Ratings
Scene
22 -
Confronting Shadows
INT. DR. HIGHLAND'S OFFICE BUILDING - CONTINUOUS
The hallway is long. The walls are decorated with ancient
Greek and Japanese art.
Something about the environment settles Peter as he continues
to a singular desk and YOUNG RECEPTIONIST by the office door.
YOUNG RECEPTIONIST
May I help you?
PETER
Yes, ma'am. Peter Cullen for Dr.
Highland.
YOUNG RECEPTIONIST
Go right in. Dr. Highland will be
with you in a moment.
He walks into -
DR. HIGHLAND'S OFFICE
It's an oval shaped, windowless room. The atmosphere is thick
with shadows. A pair of solitary chairs face each other,
flanking a wooden cube that serves as a table.
Peter stands in the middle of the room, wondering which chair
to choose: the black one on the left or the white one on the
right.
DR. HIGHLAND (O.C.)
(British accent)
Sometimes the simplest choice can
become the most difficult.
DR. EVA HIGHLAND. A statuesque woman in her fifties stands by
the door with great elegance and poise. Her raven hair is
done up, and her attire is a fitted black pantsuit.
DR. HIGHLAND (CONT'D)
But there are no right or wrong
choices, Mr. Cullen. Only the ones
we learn to accept.
(beat)
Then again, they are only chairs.
She gestures for Peter to choose.
PETER
I think I'd rather stand, Dr.
Highland...?
Peter stares as she approaches.
DR. HIGHLAND
Yes, Mr. Cullen, I am a woman. Does
that trouble you?
PETER
No... I was just expecting an old
guy in a bow tie.
DR. HIGHLAND
Most young men aren't so responsive
to "old guys in bow ties."
PETER
Tell that to the ones I've come
across. Social services thought
they'd help with my "situation."
DR. HIGHLAND
And? Did they?
PETER
I saw five different shrinks in
eight months. So no. They didn't.
DR. HIGHLAND
Believe me, Mr. Cullen. I'm not, as
they say, a "shrink."
PETER
So what are you?
DR. HIGHLAND
The exact opposite.
Silence.
PETER
What happens now? Are you gonna ask
me questions?
DR. HIGHLAND
I can help you unlock a road map to
whatever answer you accept for
whichever questions you ask.
Peter starts pacing around the room.
PETER
And everything we discuss is
confidential?
DR. HIGHLAND
It is.
PETER
What's the deal with the Equitum
House? Most of the people in there
look like they've read 1984 one too
many times.
DR. HIGHLAND
The Orwell novel. How so?
PETER
I don't know... the weird
dedication to duty and overall
cultish vibe.
DR. HIGHLAND
The Equitum House can be unsettling
at first.
PETER
Is that what you're job is? To help
me settle into an elitist
fraternity?
(beat)
And to be honest, I don't even know
what I'm doing here.
DR. HIGHLAND
One's journey always begins by
accepting the unknown.
Peter stops his pacing.
PETER
My father said something very
similar to me before he died.
DR. HIGHLAND
My condolences. I read the suspects
were murdered. How have you
processed the incident?
On Peter -
Genres:
["Drama","Psychological Thriller"]
Ratings
Scene
23 -
Crossroads of Identity
INT. PARKED CAR, NIGHT - FLASHBACK
Peter's behind the wheel staring at the tenement building
across the street. His glaring eyes determined with dark
intent as they focus on FOUR AFRICAN AMERICAN MEN entering
the building.
He then shifts focus to the revolver in his lap before
exiting the car.
INT. DR. HIGHLAND'S OFFICE - BACK TO SCENE
Back to Peter -
PETER
Processed? I haven't. Not yet.
DR. HIGHLAND
You seem upset. Would you like to
sit, Mr. Cullen?
PETER
No.
(beat)
Look. I think this was a mistake.
Clearly I'm not "Equitum material."
DR. HIGHLAND
(looks at her watch)
Very well. Our time is up.
PETER
That's it?
DR.HIGHLAND
I've seen enough for today.
PETER
Was this a test?
DR. HIGHLAND
(beat)
Best of luck, Mr. Cullen.
Peter begrudgingly walks to the door.
PETER
(stops)
By the way, the answer was neither
chair. No one ever learns to accept
anything.
Peter leaves. Dr. Highland walks to the cubic table and flips
a rear switch. The top opens, revealing a recording device
and telephone. She dials.
JOSEPH HIGHLAND (V.O)
(on the phone)
And?
DR. HIGHLAND
Defiant, brash, and lost... like
his father. It seems like young
Cullen doesn't believe he belongs.
JOSEPH HIGHLAND
Which chair did he choose?
DR. HIGHLAND
Neither.
JOSEPH HIGHLAND (V.O)
Interesting. I assumed he would
choose like his father.
DR. HIGHLAND
He's the only one of the five who
didn't.
JOSEPH HIGHLAND V.O)
Indeed. Have Clark bring him back
and begin the next phase.
DR. HIGHLAND
I need more time. They need more
time. We don't know what might be
unlocked.
JOSEPH HIGHLAND
I leave that to you.
Dr. Highland disagrees.
JOSEPH HIGHLAND (V.O.)
Do you still have your doubts about
the program?
DR. HIGHLAND
They're just boys... not soldiers.
JOSEPH HIGHLAND (V.O.)
No, no, they're not. They're so
much more.
DR. HIGHLAND
Who are you doing this for, Joseph?
A beat.
JOSEPH HIGHLAND (V.O.)
Begin the next phase, Dr. Highland.
Dr. Highland hangs up. Her eyes shift to the still rolling
recording device.
DR. HIGHLAND
You're up.
Genres:
["Thriller","Psychological Drama"]
Ratings
Scene
24 -
Unraveling Secrets
EXT. DR. HIGHLAND'S OFFICE BUILDING - MOMENTS LATER
Peter bursts out, nostrils flaring, breath heavy, heart
pounding, until —
CLARK (O.C.)
Kinda takes your breath away,
doesn't she?
Peter turns and sees Clark leaning against the wall.
Cigarette in hand, half a smirk.
Peter doesn't respond, he just starts walking away.
CLARK (CONT'D)
Leaving so soon, Cullen?
Peter stops. His eyes narrow as he turns.
PETER
I know you?
Clark's smirk widens. He flicks his cigarette to the ground.
CLARK
Not yet. But I knew your father.
Knew him better than you ever did.
Peter stiffens. Clark starts walking past him, unhurried.
CLARK (CONT'D)
The name's Clark. Let's grab a
bite. Ever had a proper hotdog?
Clark doesn’t wait for a reply and keeps walking. Peter,
torn, follows.
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
25 -
Legacy of Secrets
EXT. PARK BENCH - MOMENTS LATER
Clark hands Peter a hotdog. Peter stares at it.
CLARK
(mouth full)
Not hungry?
PETER
You said you knew my father.
Clark takes his time, sipping from a vanilla milkshake.
CLARK
Well, enough to know that four
Negroes didn't kill him in a drive-
by.
Peter's face hardens, his knuckles whitening.
PETER
Who the hell are you, man?
CLARK
A guy who knows a thing or two.
Clark sets his hot dog aside, his demeanor shifting.
CLARK (CONT'D)
In '42, five Equitum alums dropped
behind enemy lines in North Africa.
Your old man was one of 'em.
PETER
Yeah, Dad told me.
CLARK
He tell you they got caught? OSS
pulled them out of a Nazi lab in
'44. Seems like the Krauts liked to
experiment back then.
Peter’s skeptical expression betrays a hint of intrigue.
PETER
And what's that got to do with me?
CLARK
I've read your file. High school
football star, right? But pretty
average on paper otherwise. You
think you're running a four-five
forty just with a can-do attitude?
But any effort is beneath, the son
of Charles Cullen, right?
Peter’s fists tighten, his jaw set.
CLARK (CONT'D)
(leaning in)
How’s the rage, Cullen? I bet
social services tried to patch you
up with shrinks with no clue about
what's in your blood.
PETER
And you do?
CLARK
Whatever they put in your father
changed him, and it's gonna change
you.
(beat)
(MORE)
CLARK (CONT'D)
Our organization rehabilitated
Charles, after the war. He was the
last operative of an elite unit
that kept us from going nuclear
with the Reds. They killed him for
it.
PETER
Soviets killed my dad?
CLARK
Sleeper cells have been multiplying
like cockroaches. Somewhere, deeply
hidden, just waiting to strike.
Look around you -
A COUPLE walks by, laughing. Peter eyes them warily, his
instincts already responding to Clark’s words.
CLARK (CONT'D)
Any one of these people is a
potential threat. So lesson one,
kid: don't trust anyone.
Peter studies Clark, weighing his words with suspicion.
PETER
But I can trust some spook who
bought me a hot dog?
CLARK
(smirks)
You’ve got good instincts, Cullen.
Clark stands, looming over Peter with an authority that’s
impossible to ignore.
CLARK (CONT'D)
Equitum's recruited this country's
best for over a century. Men like
your father, who became something
more than a rich man's son.
(beat)
You want answers? A sense of
purpose? You won't get that
anywhere else but here. If not?
Best of luck, kid.
Peter watches as Clark turns to leave, the weight of his
words settling over him.
PETER
So what, you're gonna turn me into
a soldier?
Clark glances over his shoulder, a cryptic smile lingering on
his face.
CLARK
Not exactly.
CUT TO.
SUPER: EAST BERLIN, GERMANY - WINTER, 1962
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
26 -
A Deadly Confirmation
INT. BAR, EAST BERLIN - NIGHT
Peter is standing over Trojan's corpse. The phone on the bar
suddenly rings.
He hesitates to answer as it continues to ring, until -
JOSEPH HIGHLAND (V.O)
Peter.
PETER
Professor Highland?
JOSEPH HIGHLAND (V.O.)
Is it done?
PETER
Are you in Berlin?
JOSEPH HIGHLAND (V.O)
Is it done?
PETER
Trojan is down.
JOSEPH HIGHLAND (V.O.)
And the files?
PETER
Destroyed.
JOSEPH HIGHLAND (V.O)
That's unfortunate.
Genres:
["Thriller","Espionage","Action"]
Ratings
Scene
27 -
Escape from East Berlin
EXT. BAR, EAST BERLIN - SAME TIME
The Stasi surround the Bar.
INT. BAR, EAST BERLIN - SAME TIME
The poison's effect is reaching a painful threshold.
JOSEPH HIGHLAND (V.O.)
Are you operational, Mr. Cullen?
Focus.
PETER
Yes.
JOSEPH HIGHLAND (V.O.)
Then I suggest you run, Peter.
PETER
Sir... How many more will there be?
JOSEPH HIGHLAND (V.O.)
As many as it takes.
MOMENTS LATER
The Stasi kick the door in, but Peter's gone and so is
the briefcase. A tall, and deceptively attractive forty
something year old Russian named KIRA ZAKHAROV marches in
with authority. KGB. She's no Stasi.
She kneels by Trojan's corpse.
ZAKHAROV
(subtitles: Russian)
Trojan...
(looks around)
Where's the briefcase?
Genres:
["Thriller","Espionage","Action"]
Ratings
Scene
28 -
Escape from East Berlin
EXT. STREETS, EAST BERLIN - LATER
Peter dashes through alley after alley as the sirens of the
Stasi patrol cars squeal in the streets.
An unmarked patrol car cuts him off. He slides over the hood
and puts two bullets in the STASI PASSENGER exiting the
passenger side.
He continues to use him as a human shield, absorbing two
shots from the STASI DRIVER.
Peter returns fire and puts one right between his eyes.
He gets behind the wheel and races to the -
Genres:
["Action","Thriller"]
Ratings
Scene
29 -
Borderline Tension
EXT. CHECKPOINT, EAST BERLIN - LATER
Peter approaches a car lineup at the border. The GUARD #1
flashes a light into every car before letting them through.
Peter's next. And he's a little worse for wear with the
poison reaching a critical point.
GUARD
(subtitles: German)
Papers.
Peter hands him a West German Diplomatic Passport.
GUARD (CONT'D)
(looks at the passport)
What business does a diplomatic
lawyer from Düsseldorf have in East
Berlin at this hour?
PETER
Bachelor party.
GUARD
(laughs)
Bachelor Party?
(sees the briefcase)
What's in that?
PETER
Diplomatic documents.
GUARD
You brought diplomatic documents to
a bachelor party?
PETER
What can I say? Those crazy
bastards from Moscow love mixing
business and pleasure.
GUARD
(smells)
You stink of vomit.
GUARD #2 calls guard #1 over to the booth. Peter gets his
pistol ready.
Guard #2 approaches Peter with a picture in his hand. He
flashes a light in Peter's face.
Genres:
["Action","Thriller","Spy"]
Ratings
Scene
30 -
The Urgency of Escape
EXT. STREET, EAST BERLIN - SAME TIME
Two Stasi find Peter's victims.
INT. BAR, EAST BERLIN - SAME TIME
Zakharov hears the panicked Stasi over her radio.
ZAKHAROV
(into radio)
What?!
STASI (V.O)
I found two dead by an alley west
of the bar. Their car is gone!!
ZAKHAROV
(beat)
There's another American! He's
going to the border!
Genres:
["Thriller","Action","Espionage"]
Ratings
Scene
31 -
Checkpoint Tensions
EXT. CHECKPOINT, EAST BERLIN - SAME TIME
He reveals a picture of Trojan.
GUARD #2
We were warned about an American.
Just making sure.
PETER
Those fucking American pigs.
GUARD #2
Move along.
Peter drives through. A phone rings in the booth. Guard #1
ignores it while his colleague lights a cigarette for him.
He finally makes his way into the booth and answers.
GUARD #1
(into phone)
Yeah.
ZAKHAROV (V.O.)
(subtitles: German)
Have you let anyone through in the
last five minutes?
GUARD #1
(chuckles, to Guard #2)
It's a woman...
(MORE)
GUARD #1 (CONT'D)
(back to Zakharaov)
How did you get this number?
ZAKHARROV
Answer the question!
HERMANN
Yes. A diplomat from -
ZAKHAROV (V.O)
Shut up and listen to me... Don't
let anyone else through.
GUARD #1
Who the hell is this?
ZAKHAROV (V.O)
This is Zakharov. What's your name?
GUARD #1
Hermann.
Zakharaov hangs up. Hermann knows he's in trouble.
Genres:
["Thriller","Spy","Drama"]
Ratings
Scene
32 -
Desperate Pursuit
INT/EXT. PETER'S CAR - MOMENTS LATER
Peter's in the clear and makes it onto a rural West German
highway road.
EXT. CHECKPOINT, EAST BERLIN - SAME TIME
A car squeals to the border booth. Zakharov jumps out and
inspects the four car lineup. None of the DRIVERS can
possibly fit the description of what she's looking for.
ZAKHAROV
Where's Hermann?!
Guard #2 steps up to Zakharov.
GUARD #2
Hold it right there -
BANG! Zakharov puts one in his head! Hermann cowers.
ZAKHAROV
(to Hermann)
Did a car with a briefcase get
through?
Hermann nods, and... BANG! Down he goes too.
ZAKHAROV (CONT'D)
Fuck!!!!
Genres:
["Thriller","Action","Drama"]
Ratings
Scene
33 -
Awakening in Uncertainty
EXT. HIGHWAY ROAD, WEST GERMANY - SOME MILES LATER
Peter is barely holding on. His car swerves left and right.
The road narrows and his field of view disappears by the
second. Headlights illuminate the rear view mirror for a
moment but vanish as quickly as they appeared.
Vision turns to grey. Grey turns to black. Peter passes out.
His car drifts violently into a ditch. CRASH!
A vehicle parks by the crash site and TWO MEN RUSH OUT.
One of them snatch the briefcase while the other jabs a
syringe into Peter's neck and injects him with the cure. He
places a small wooden case into Peter's lap.
And just like that - they're gone.
EXT. HIGHWAY ROAD, WEST GERMANY - THE NEXT MORNING
Peter wakes up and looks like shit. He opens the case in his
lap. It contains a SILVER COLT REVOLVER and a written note -
"I looked, and behold, an ashen horse; and he who sat on it
had the name Death; and Hades was following with him." He
knows what it means but isn't too sure where it'll take him.
He exits the crashed car and begins his long walk. Johnny
Cash's A Boy Named Sue plays as the episode -