"MISSION: IMPOSSIBLE - FALLOUT" (2018)

FOR YOUR

CONSIDERATION

Based on the Television Series Created by Bruce Geller

MISSION: IMPOSSIBLE - FALLOUT

Written by Christopher McQuarrie

Based on the Television Series Created by Bruce Geller

1 BLACK 1

And from out of the blackness, a familiar voice.

VOICE (O.S.) Do you, Ethan, take Julia to be your lawfully wedded wife?

FADE UP to reveal ETHAN HUNT, standing in the impossibly bright sun, wearing a suit, smiling warmly.

PULL BACK TO REVEAL: A BRIDE in a simple white dress and a wedding veil. We can just make out her lovely face. A face we might recognize. She smiles. Nervous, happy, deeply in love.

VOICE (O.S.) To have and to hold. To love, cherish, honor and protect.

VOICE (O.S.) To shield from terrors known and unknown. To lie, to deceive-

VOICE To live a double life. To needlessly place her in harms way, fail to prevent her abduction-

VOICE (O.S.) To rob her of her innocence, erase her identity, force her into hiding, take away all she's known in a selfish, futile, fleeting attempt to escape your true self.

VOICE (O.S.) And Julia... Do you choose to accept?

Cherry Rev. (Nov 16 '17) - 1908 1aA.

REVEAL: The Source of the voice: THE MINISTER, looking up from his bible at Ethan. He is:

Ethan looks back at Julia as a blinding flash fills the sky behind her. He grabs her, holds her tight as the light consumes them, incinerates them and:

Cherry Rev. (Nov 16 '17) - 1908 1A.

Ethan's eyes open, waking from his nightmare. He's on a cot in a dark and barren room. Rain batters the dormer windows. A faint knocking snaps him out of bed, pistol in hand.

A long set of stairs down to a door. Ethan opens it TO REVEAL A SILHOUETTED DELIVERY MAN in a rain slicked coat and hat.

The Man hands over the package and walks off.

Ethan sits at a table and opens the envelope. Inside is a book: Homer’s The Odyssey. Inside that is a small, REEL-TO- REEL TAPE PLAYER with a tiny needle protruding from a depression in one reel. Ethan presses his finger to it, leaving a drop of blood there.

It’s absorbed and the recorder plays. He sucks his finger as a projector pops up from the tape player, displaying images on the wall. The first image is that of SOLOMON LANE.

Cherry Rev. (Nov 16 '17) - 1908 2.

VOICE (ON TAPE) Good evening, Mr. Hunt. Despite two years in captivity, Solomon Lane refuses to divulge any details about his network of rogue government agents, formerly known as the Syndicate.

INSET: ARMED MASKED MEN in black tactical gear, a hit squad, standing over several DEAD BODIES.

VOICE (CONT’D) The CIA’s Special Activities Division has relentlessly hunted Lane’s elite army of hostiles, but many remain unknown and at large.

RAPID-FIRE IMAGES OF DESTRUCTION.

VOICE (CONT’D) To survive, they have abandoned Lane’s vision of political anarchy and adopted a policy of full-scale terror-for-hire. The members of this extremist splinter cell refer to themselves as “The Apostles.”

IMAGE: Thumbnails of emails and text messages stamped NSA: CLASSIFIED.

VOICE (CONT’D) Intercepted communiques decrypted by the NSA indicate the Apostles number one client is this man:

INSET: A SILHOUETTE of a man, a nothing.

VOICE (CONT’D) An unidentified terrorist known only by the code name: John Lark.

IMAGE: DOCTORS treat SICK AND SUFFERING CIVILIANS in a second world medical facility.

VOICE (CONT’D) One month ago, using information provided by Lark, the Apostles stole the Smallpox virus from the CDC in Reston Virginia.

Cherry Rev. (Nov 16 '17) - 1908 3.

IMAGE: A map of the Indian subcontinent. INSET: The region of Kashmir.

VOICE (CONT’D) The virus was released in Indian controlled Kashmir, causing an outbreak along the borders of China and Pakistan and threatening one third of the world’s population. The virus has been contained, but evidence suggests this attack was a merely test run for a more ambitious operation...

FACING IMAGE: The handwritten pages of a madman’s writings. INSET: DR. NILS DELBRUUK (40s):

VOICE (CONT’D) Three weeks ago, Lark contacted this man: Norwegian nuclear weapons specialist Nils Delbruuk. Dr. Delbruuk’s security clearance was revoked after publishing a fiercely anti-religious manifesto. Twenty- four hours after communicating with Lark, Delbruuk vanished.

IMAGE: THREE METALLIC SPHERES marked with nuclear symbols. INSET: More decrypted documents marked CLASSIFIED.

VOICE (CONT’D) Meanwhile, Lark has contacted elements of the Russian underworld who are in possession of three plutonium cores stolen from the missile base in Kolima.

The next page shows a schematic of a device, watermarked U.S NUCLEAR EMERGENCY RESPONSE TEAM: CLASSIFIED.

VOICE (CONT’D) N.E.S.T. estimates that a man with Delbruuk’s knowledge using the materials in play, could complete three five-megaton nuclear devices in as little as seventy two hours. These devices would be man-portable and deployable anywhere on Earth overnight. In the hands of John Lark and the Apostles, the consequences are unimaginable.

Ethan rubs his eyes. This is bad.

Tan Rev. (Jan 31 '18) - 1518 3aA.

VOICE (CONT’D) Your mission, should you choose to accept it, is to identify and apprehend John Lark before he can acquire functioning nuclear weapons. If you or any members of your IMF team are caught or killed, the Secretary will disavow any knowledge of your actions. Good luck, Ethan. This message will self destruct in 5 seconds.

The player stops. Ethan places the pages back in the book and closes it. A beat later, smoke emerges from the book as:

An abandoned covered railway - open on one side, revealing * the city beyond. The other side is lined with cavernous dark * archways forming perpendicular tunnels to God knows where. *

TITLES: BERLIN *

Ethan and Benji stand in the center, waiting patiently. A BMW * is parked a few yards behind them. Benji checks his watch. *

BENJI * They’re late. *

BENJI * Something’s not right about this * guy. We should abort. *

ETHAN * They’re here. *

OVER Ethan and Benji as headlights approach. They walk toward * them. *

Tan Rev. (Jan 31 '18) - 1518 3bA.

LUTHER STICKEL watches the alley on multiple screens. *

LUTHER * Is it ever a good one? Honestly. *

LUTHER * Copy you. *

Ethan and Benji approach the car as it comes to a stop. Three * men climb out: A man we will call THE EUROPEAN and TWO * GUNMEN. GUNMAN 1 lingers by the car. Gunman 2 sticks to The * European as he approaches. *

There is something about him - the way his look lingers too * long. The way we can’t read what he’s thinking. After a beat. *

ETHAN * Did you bring it? *

The European studies them, studies the area. *

The European steps closer studies Ethan and Benji. Benji * studies the gunmen. *

THE EUROPEAN * I have survived in this business * with the help of a voice in my * head. This voice is never wrong. * And whenever I meet you, it tells * me the same thing. *

ETHAN * What’s that? *

THE EUROPEAN * Nothing... *

The European circles Ethan. *

Tan Rev. (Jan 31 '18) - 1518 3cA.

Luther watches, tense. *

LUTHER * This guy’s crazy... *

Tense beat. Then: *

ETHAN * Tell your voice to flip a coin. I * have a schedule to keep. *

The European thinks. Has to guess. He motions. Gunman 1 opens * the car door, pulls out a case and brings it forward. He * opens it TO REVEAL: *

Three plutonium cores. Ethan nods to Benji who pulls out a * phone, activates a Geiger counter on the screen. It’s already * reading small amounts of radiation. He pulls out a strip of * metal and touches one of the spheres. The counter goes wild. *

THE EUROPEAN * What is that? *

BENJI * This is a Geiger counter and this * is Beryllium rod, which is causing * a reaction with the plutonium * inside the core. *

Luthers screen black out. The power in the van quits. *

LUTHER * Ethan... Ethan, come in. *

Tan Rev. (Jan 31 '18) - 1518 3dA.

Benji touches the other two spheres, picking up the same * reaction. The Gunmen 2 instinctively steps back. Gunman 1 * sweats. *

BENJI * They’re good. *

Gunman 1 closes the case, exhaling. *

THE EUROPEAN * The money. *

ETHAN * Yes the money. Bring the money. *

Beat. The European looks around. Nothing. *

Now Benji looks behind them, expecting Luther. But he’s not * there. *

EUROPEAN * Kill them. *

BANG. A shot rings out. The European drops. BANG BANG, his * gunmen drop. Ethan and Benji scatter as more shots ring out. *

Ethan runs for the case. A spray of bullets drive to the * side. He runs for cover. Benji manages to grab the case, but * the bullets prevent him from going after Ethan. He runs the * other way, taking cover behind a pillar. *

ETHAN * Luther? Do you copy Luther? Luther * come in? *

VOICE (ON COMM) * Luther’s not in right now. Hunt. *

Benji and Ethan share are a look of dread, separated by the * treacherous width of the tunnel. *

ETHAN * What do you want? *

Silence. Ethan thinks for a beat. *

Tan Rev. (Jan 31 '18) - 1518 3eA.

Benji peeks at the car, way down the tunnel. A SHADOW steps * into the open and fires. Bullets pepper the brick near his * face. He recoils. *

BENJI * I don’t think I can. *

ETHAN * Benji. Get. The car. *

Benji realizes, pulls a phone from his pocket, activates the * screen. A second later, the BWM fires up and screams to life, * screeching down the alley and into the archway next to Ethan. *

Ethan e is a few feet from the car, looking down a tunnel at * the city beyond. He is home free. *

Benji grabs the case. Readies himself to run to Ethan. But * bullets drive Benji back. Another moment of dread * realization. Benji is trapped. *

He throws the case across the tunnel. It lands at Ethan’s * feet. Ethan has a clean getaway. But only if he leaves his * friend behind. *

BENJI * Go. *

ETHAN * Benji... *

BENJI * Go. *

VOICE (ON COMM) * We’ll make you a deal, Hunt. Give * us the case and we won’t kill your * friend. *

LUTHER * DON’T DO IT, ETHAN. *

Another dread look to Benji. Ethan dares to stick his head * out. Luther is standing in the center of the tunnel, a Shadow * using him as a shield. Other shadows are moving for position. *

VOICE (O.S.) * The case, Hunt. *

Ethan looks down to the case at his feet. *

Tan Rev. (Jan 31 '18) - 1518 3fA.

VOICE (CONT’D) * I will count to three. *

LUTHER * DON’T DO IT, ETHAN. NOT FOR ME. *

EUROPEAN * One... *

Benji mouths to Ethan. *

BENJI * [Go... Go now...] *

Ethan closes his eyes. *

CLOSE ON: The EUROPEAN, the source of the voice, cocking the * pistol. Luther, shutting his eyes. *

LUTHER * ETHAN, PLEASE. THINK OF THE GREATER * GOOD. *

ETHAN * I’m sorry, Luther. *

EUROPEAN * THR- *

Ethan steps into the open and fires twice - hitting Luther in * the chest. Luther collapses, exposing the man behind him. *

Ethan fires. The man bolts for cover. Ethan charges. Benji * runs into the open, grabs a rifle and backs Ethan up. *

They charge as the gunmen flee. Ethan and Benji reach Luther. * He rolls over in considerable pain. Ethan tears Luther’s * shirt open to reveal the bullet proof vest underneath. *

ETHAN * I’m sorry. *

LUTHER * We’re good. *

ETHAN * I’m sorry. *

LUTHER * I should be dead, so... *

Tan Rev. (Jan 31 '18) - 1518 3gA.

BENJI * We should all be dead. *

ETHAN * Why aren’t we? *

The teams looks around. Strangely, the unseen enemy seems to * have gone. Odd. *

LUTHER * Where’s the plutonium? *

Ethan looks to Benji? *

BENJI * I was covering you. *

Ethan realizes, runs. *

Ethan arrives to find the case missing. Benji and Luther * arrive a beat late. *

ETHAN * It’s gone. *

Cherry Rev. (Nov 16 '17) - 1908 3A.

CLOSE ON: A television. We see ROME, at a distance, a pillar of smoke at the center. INSET: WOLF BLITZER of CNN.

Cherry Rev. (Nov 16 '17) - 1908 4.

REVEAL: Ethan stares at a television, his expression unreadable. He holds a stopwatch in his hand.

ON TV: ISRAEL, again from a distance. Again, smoke and fire.

FROM THE DECK OF AN AIRCRAFT CARRIER, looking toward land and a column of smoke miles away.

VOICE (O.S.) Ethan. It’s time.

Ethan looks up, sees LUTHER waiting.

Salmon Rev. (July 30 '17) - 1400 4A.

A room of institutional concrete and drab paint - the windows are cornered in steel grating. We’re in a prison hospital.

NILS DELBRUUK lies in bed, bruised and bandaged, slowly coming to. He realizes he's cuffed to the bed. He sees the news on television and his face flashes a range of emotions - the most predominant of which is confusion.

A MILITARY NURSE checks his chart, adjusts his IV as Ethan and Luther enter. Luther is calm. Ethan is agitated.

Ethan mutes the television as he walks past.

Salmon Rev. (July 30 '17) - 1400 5.

The Nurse leaves.

Delbruuk doesn’t answer. Luther tosses a manuscript on the bed, followed by photos.

Delbruuk sees a makeshift lab - ultramodern equipment contrasting an abandoned catacomb. Prominent in these images are photos of The Vatican, Mecca and Jerusalem.

Luther gives him a look that says “back off.”

Salmon Rev. (July 30 '17) - 1400 5A.

Salmon Rev. (July 30 '17) - 1400 6.

He says this to Ethan, savoring his anger and frustration. Luther holds up a cell phone, on the screen: ENTER PASSCODE.

Delbruuk laughs

These words hit home. Ethan lunges for Delbruuk. Luther has to hold him back.

Salmon Rev. (July 30 '17) - 1400 6A.

These words strike Luther. He thinks, half turning to Delbruuk.

Ethan lunges at the bed, Luther restrains him.

Tan Rev. (Jan 31 '18) - 1518 7.

The words bring silence. After a beat, Ethan takes the phone, paces as he dials, puts it to his ear.

Ethan hangs up and tosses the phone on the floor, glaring bitterly at a grinning Delbruuk. Crushed, Ethan sits on a stool in the corner of the room as:

As Wolf continues, Delbruuk smiles. Ethan stews.

Delbruuk extends a hand to Luther. Luther hands him the phone. Delbruuk unlocks it.

Tan Rev. (Jan 31 '18) - 1518 7A.

Delbruuk hands the phone back to Luther.

Luther connects the phone to a laptop. The screen is suddenly flooded with raw data that only Luther can understand.

WOLF * Today, mankind has been handed the * opportunity to escape his destiny, * an otherwise inevitable conclusion * to a thousand years of intolerance * and fear... *

All four walls of the hospital room fall away. REVEAL: We’re in a warehouse. In the background we see a desk, a camera, a green screen. A SHADOWY FIGURE approaches.

Ethan stands, walks to the bed, looming over Delbruuk. Ethan’s agitation is gone, replaced by serene certainty.

Cherry Rev. (Nov 16 '17) - 1908 8.

Luther stands beside him, smiling.

Wolf Blitzer appears over Ethan’s other shoulder.

Wolf rips off his face TO REVEAL: BENJI DUNN. Luther hands Benji a twenty as:

Ethan holds a syringe gun up to Delbruuk’s neck and fires.

CREDITS

Light the fuse. Tease the plot. The roar of idling jet engines take us to:

Cherry Rev. (Nov 16 '17) - 1908 9.

TITLES: RAMSTEIN AIRBASE, GERMANY

Ethan arrives by car, pulling up to a waiting DIRECTOR ALAN HUNLEY. Hunley turns, and heads towards a massive C-17 Cargo plane. Ethan hops out and falls in step. Hunley hands Ethan a dossier. The first image is that of a decoded e-mail.

IMAGE: A WOMAN in a hat, sunglasses, not wishing to be seen.

IMAGE: The stately Grand Palais in central Paris.

Hunley stops, faces him.

Cherry Rev. (Nov 16 '17) - 1908 9A.

He walks on, stops, turns back.

Beat. Hunley studies Ethan’s expression, realizing:

Ethan reluctantly nods. Off Hunley’s shocked expression:

Cherry Rev. (Nov 16 '17) - 1908 10.

A WOMAN’S HARD HEELS, followed by A MAN’S LEATHER SOLES.

REVEAL: ERIKA SLOANE, A FORMIDABLY SUITED WOMAN (40s) walks with purpose, followed by A FORMIDABLE MALE (40s). This is WALKER. They approach a door where A MARINE SERGEANT stands guard.

She snatches the Marine’s ID from his shirt, hands it to Walker and barges past. Walker smiles.

Walker goes after Sloane toward the sound of roaring engines.

Salmon Rev. (July 30 '17) - 1400 11.

Sloane and Walker stride across the tarmac toward the C-17.

Walker dials a cell phone as Sloane focuses on Hunley and Ethan, engaged in intense conversation. Sloane can’t hope to hear them over the engines. But that doesn’t matter.

A beat later, the C-17’s engines wind down. Ethan and Hunley are momentarily confused. Then they see Sloane and Walker.

Salmon Rev. (July 30 '17) - 1400 11A.

Cherry Rev. (Nov 16 '17) - 1908 12.

Both Hunley and Ethan’s expression darkens.

Ethan looks at Hunley. Hunley looks at his watch. They have no choice. Ethan walks up the ramp and into the plane. Sloane turns her back to Hunley, speaking so only Walker can hear.

Walker nods and heads into the plane.

Tan Rev. (Jan 31 '18) - 1518 12A.

The full moon fills the frame until the black silhouette of a giant C-17 Globemaster cargo-plane rises in front of it.

Walker and Ethan in the empty cavern of the plane's belly. A big clock counts down.

Ethan checks his gear: A mask making machine, etc. Walker looks at the file Hunley gave to Ethan. One side is the picture of the Widow. On the other, a picture of an ID band.

IMAGE: Walker studies a photo of said ID band.

Ethan indicates what look like two smartphones.

Ethan aims a wand at Walker. It projects a grid on his face through his visor. Walker blinks. Ethan gestures to the machine. On the screen is a copy of Walker’s face.

Tan Rev. (Jan 31 '18) - 1518 12B.

Ethan decides not to answer. Walker sighs. “Whatever.”

Ethan holds up a small syringe.

Tan Rev. (Jan 31 '18) - 1518 12C.

Before Ethan can reply, the plane’s interior lights turn from * white to soft red. That’s the signal.

WALKER * If you have a problem with my * methods, you can always stay * behind. You’re mission, should you * choose to accept it. Isn’t that the * thing? *

PILOT * Three minutes to decompression. *

ETHAN * Suit up. *

And before Walker can reply, Ethan starts stuffing gear into bags. RAPID INTERCUTS: chutes on, helmets on.

Ethan sees Walker’s helmet visor is foggy. *

Walker searches for the valve. Ethan grabs it and turns it on. His visor de-fogs just as: *

HISSSSSSSSSSS. The lift-gate opens at the back of the plane, revealing the blackness of night beyond.

Tan Rev. (Jan 31 '18) - 1518 13.

Walker goes about tightening straps, etc. *

A ticking clock comes on. Thirty seconds.Ethan has to make this work. He points to a glowing display on Walker’s mask:

Cherry Rev. (Nov 16 '17) - 1908 14.

Walker nods. Ethan reluctantly walks toward the rear of the plane. He stands with his toes on the end of the gate and looks down. REVEAL:

A massive lightning storm where the target should be. Ethan turns, sees Walker coming and rushes to stop him.

Walker disconnects Ethan’s oxygen and runs off the edge headlong. Ethan scrambles to reconnect his air before running after him, hurling himself into space. We go with him into:

Cherry Rev. (Nov 16 '17) - 1908 15.

Terminal velocity. The full moon gives everything a cold, lapis-colored sheen. We are coming up fast on the storm.

(NOTE: The following plays in one continuous take, never leaving Ethan.)

Ethan flies past us, chasing after Walker, silhouetted against the storm. He can hear Walker’s breathing hyperventilating - terror on a level few can ever know.

BOOM. Lighting explodes in front of Ethan. He blows through a layer of dissipating ozone, half blind. When his eyes adjust, he realizes Walker is gone.

A moment later he emerges from the storm layer. But:

There is a second storm layer, far below, cracking with lighting. Shit.

Nothing. Ethan looks left, right, rolls over onto his back to look up. No sign of Walker. He rolls again, facing down. Lightning flashes and by sheer luck he sees:

Walker's silhouette plummeting, limp as a rag doll. Ethan dives toward him. He impacts with Walker, misses, tumbles. Ethan recovers, turns, tries again. They collide, stabilize, falling together. Ethan sees Walker has lost his air tank.

They plunge into the second storm layer, altimeter spinning. Turbulence. Lightning. Ethan rips the broken hose from Walker's helmet. He takes several deep breaths before attaching his own tank to Walker's helmet. Meanwhile, A RED WARNING LIGHT FLASHES. Lighting explodes all around them.

Walker slowly resuscitates. His eyes focus, then go wide:

They emerge from the second storm layer over the bright lights of Paris. And they are low. No time.

Green Rev. (June 11, 17) 15A.

Ethan yanks Walker's ripcord. Walker is torn up and away. Ethan rolls over and sees a massive, glass roofed building coming up fast - bright lights glaring up from within. He yanks his ripcord.

Cherry Rev. (Nov 16 '17) - 1908 16.

The Grand Palais is a massive, elongated, 19th century structure, the roof is made entirely of glass. A giant, spired dome rises from the center. Ethan’s chute barely deploys as he barely misses the spire. He's going to hit hard. Then his chute is impaled on the spire above him. It tears, then snags, yanking him violently to a halt.

Ethan stifles the pain. He's still twenty feet above the roof with no other way down. He yanks a release and falls.

He slams into the roof, splinter a glass pane. He lays there, winded and in pain.

A beat later, Walker drifts past, landing gently. He turns, sees Ethan in a heap, notices:

Off Ethan’s look...

Ethan and Walker make their way along the roof. Despite lightning splitting the sky, fireworks explode around the Eiffel tower. Ethan heads toward a service door and makes short work of the lock.

Music is blasting and lights are flashing OS. Ethan and Walker drop down from the ceiling, and navigate under an overhanging beam to a catwalk overlooking:

The rave from hell - thousands of people moving to driving music. A massive sun-like disk on one end of the space periodically floods the Palais with warm, orange light.

From here, Ethan can see a GRAND STAIRCASE below. Underneath it he sees A ROPED OFF PRIVATE ENTRANCE where GORGEOUS WOMEN and WEALTHY, THUGGISH MEN wait in line at the VIP LOUNGE.

Ethan can see a winding staircase leading down to the top of the grand staircase.

Cherry Rev. (Nov 16 '17) - 1908 16A.

Ethan moves up the stairs. Walker follows.

Cherry Rev. (Nov 16 '17) - 1908 17.

We are inside the ring of the glass dome, 120 feet above a slowly moving vortex of humanity below. Ethan sees the stairwell he needs to reach. One problem:

Huge sections of the walkway are missing. Tape, chains and other gear indicate there is construction going on. There is no way to get to the floor below.

Ethan looks to his left and spies a steel cable attached to the catwalk just beneath his feet. It is one of four that meet at a small ring in the center of the dome, forming an x.

He looks to his right and sees the sloping wall of the Palais and a glass enclosed booth about halfway between him and the ground floor. He makes a mental calculation. Walker impatiently checks his watch.

Ethan pulls off his parachute, and gingerly steps out onto the wire. He tests it with his foot - it wobbles, but holds. He slowly reaches down to the cable, grabs it and - slips.

He swings underneath the cable, scrambling to bring his legs around it, steadying, then inchworming along the wire.

A bewildered Walker watches as Ethan reaches the center ring where he loosens the two cross cables stretching left and right, until they hang on by a thread. He releases his legs, about-faces and continues across with just his hands.

He makes it to the far side. He unscrews the cable entirely, and plummets, swinging away from us.

CLOSE ON: the center ring. The cross cables strain, barely holding, and he swings back up to Walker.

Shocked that this worked, Walker stares. Ethan reaches over, attaches the end of the cable to Walker’s chute harness, puts a knife between his own teeth and pulls Walker off the ledge.

Like a pendulum they swing back across, Walker terrified.

CLOSE ON: The Center ring. The left and right cables snap, instantly doubly the length of the cable holding Ethan and walker. They swing back in the direction they came, heading for the window booth Ethan spied earlier.

Ethan slides down the cable, knife between his teeth, and at the last second, cuts Walker’s harness. Their momentum launches them through space toward the glass enclosed booth.

Cherry Rev. (Nov 16 '17) - 1908 17aA.

SMASH. Ethan and Walker crash to the floor in a heap.

Ethan stands, offers a hand. Walker swats it away.

TIME CUTS: Ethan and Walker unpack their gear from Walker’s chute bag: Change of clothes, mask machine, hypodermic, tracking devices.

Ethan checks the mask machine to make sure it’s functioning. He hands it to Walker.

As Walker slips it back in it’s case, Ethan loads the hypodermic.

Ethan just gives him a look. Walker tears open a vacuum- sealed bag with his clothes inside.

Cherry Rev. (Nov 16 '17) - 1908 17A.

Ethan and Walker emerge from a doorway, having changed from their flight suits. They pull out phones, tracking Lark, and move into the beating heart of the rave. From here, Ethan can see the VIP lounge more clearly.

Close on bouncers scanning ID bands of VIPs entering.

Ethan is bumped from behind as a A LONE WOMAN IN A SUIT passes him. Ethan grabs her arm and she turns -- they make eye contact, surprised to see one another. She is ILSA FAUST.

Ethan studies her. She wants to say something, but looks at Walker and remains silent. So does he. Neither one can. She backs off, turning into the crowd. Before Walker can ask:

Walker get’s a buzz on his phone.

They move off through the crowd, holding the phones at waist height. We stay with Ethan.

Ethan turns into the crowd, using his phone to guide him. A flailing raver knocks it out his hands. It’s lost amongst the seething bodies, kicked away.

Cherry Rev. (Nov 16 '17) - 1908 18.

Ethan moves upstream, struggling against a crowd ever moving toward the center of the Palais. He manages to find Walker.

Walker nods and they head for the restroom.

Cherry Rev. (Nov 16 '17) - 1908 19.

The bathroom is large, divided down the center by a row of sinks, mirrors everywhere. A RANDOM MAN is washing his hands, speaking in French to ANOTHER MAN at the urinal. They are drunk - a little rowdy. Walker checks his device. Nothing.

Ethan and Walker split up, going down separate sides of a partition. The partition makes it difficult to see the whole bathroom at once. Mirrors everywhere add to the confusion.

Walker’s device indicate Lark is on the other side of the partition. Ethan and Walker split up, each rounding a different end. And there he is:

LARK (40s, Asian, cool), at the middle of five sinks, washing his hands.

Ethan palms the needle, steps around the partition to jab Lark when:

A THIRD RANDOM MAN steps to the sink between them, oblivious. Ethan has no choice but to step to a sink as well and wash his hands, waiting. Walker rounds the far side of the partition and takes his place at the far sink. Now they are on either side of Lark, waiting for the random man to leave.

The other man finally leaves. Ethan watches him go. He turns back to see Walker, making eye contact directly with Lark.

Ethan moves, stabs the syringe at Lark's neck but Lark spins. He slaps the syringe away and slams Ethan into the sink.

WHACK. Walker bashes Lark upside the head with the full weight of his messenger bag. Lark drops. The needle is nowhere to be seen. Ethan stands in considerable pain. He recovers and looks for the needle.

LOUD VOICES OS. Someone is coming. Shit.

Cherry Rev. (Nov 16 '17) - 1908 20.

They quickly grab Lark and drag him into a stall just as the door opens and THREE MORE FRENCHMEN ENTER, drunker than the French, making crude gesticulations.

Ethan closes the stall door and locks it just in time. Lark is on the toilet, out cold. Walker holds up Lark’s head by his hair, while Ethan pulls out the face mask machine. He rests it on Lark’s lap and opens:

The latest mask machine. Sadly, it has a huge dent in it from where it hit Lark’s skull. Ethan shakes his head. Walker mouths “sorry.”

Rowdy French voices continue OS. Ethan powers up the machine. It’s screen is cracked, colors bleeding, moving parts sluggish. And a toilet stall for three is not ideal.

Ethan takes out a 3D scanner. A red laser grid shines on Lark’s face.

ON THE SCREEN: A flickering image of Lark’s face slowly takes shape. On the machine itself, a face is forming. Meanwhile:

The first Frenchman turns from the urinal to go to wash his hands. He double takes when he sees:

THREE PAIRS OF FEET in the same stall. He stifles a laugh and whistles to his jabbering friends. Now they see the feet. The others turn, and they start laughing approaching the cubicle.

Ethan and Walker freeze. A question in French OS. Loud laughter mixed with kissing sounds. Ethan sighs. This is all he needs. Louder knocking, voices. A loud bang. Ethan and Walker press their hands to the door.

The French leave. Walker exhales, relieved. Ethsn goes back to scanning Lark when he notices the eyes on the mask are opening. He looks at Lark.

REVEAL: Lark’s eyes are opened. Focused. He lunges upward-

Cherry Rev. (Nov 16 '17) - 1908 21.

Overwhelming both of them, Lark kicks Ethan through the stall door, crashing down to the floor. He and Walker continue to trade blows, Lark smashing the mask machine into Walker’s face. Walker grabs but Lark flips over his arm, bringing Walker down hard.

Rising quickly, Lark punches Walker in the throat before kicking Ethan, who stumbles back. Ethan fends off blows trying to hold his ground.

Walker recovers and grabs Lark, throwing him through the center mirror. Lark smashes through several sinks and lands heavily. Lark recovers, yanks a metal U-bend from a broken sink, and goes for Ethan.

Walker attacks Lark from behind. Lark breaks free, uses the pipe to clothesline Walker to the floor, going after Ethan again.

They grapple. Lark ends up behind Ethan, trying to pull the jagged end of the pipe into Ethan’s throat.

In the mirror he sees Walker whip off his jacket and advance up behind him, enraged. Lark pivots to bring Ethan between them, but Ethan kicks off the wall, breaking free.

Lark punches Ethan in the throat, staggering him. Walker attacks, pressing Lark to the wall, hammering him with body blows. Lark turns the tables, gets the better of Walker.

Ethan tries to get back up to help but the moment he stands, Lark kicks him in the chest, sending him down again.

Lark finishes Walker, driving him to his knees, kicking him in the face and knocking him out cold before beckoning Ethan.

Ethan charges, picking up Lark and smashing him through a wall, landing at the base of the cubicle.

They struggle on the floor. Lark spies his gun, grabs it. He and Ethan grapple for the gun. Lark has the upper hand, slowly bringing the gun to Ethan’s face. Ethan desperately tries to force it away. But he can’t win...

BANG. Lark falls down dead. Shot in the head. Ethan spins, grabbing the gun, looking for the shooter.

REVEAL: Ilsa, standing in the doorway, gun in hand.

Cherry Rev. (Nov 16 '17) - 1908 21A.

Beat. Stunned silence. Ethan picks up the needle, staring at it, then at the body. He throws it away. The three survivors gather over the dead man.

Ethan grabs walkers jacket and bends down, putting it on Lark. Ethan and Walker drag the body inside cubicle.

Walker steps out, studies Ilsa. She is a sphinx. Walker pulls a phone from his pocket and dials.

Cherry Rev. (Nov 16 '17) - 1908 22.

Meanwhile, Ethan rifles through Lark’s pockets, finding a hotel key card and a cell phone. He pulls the ID band of Lark’s wrist and steps out, facing Ilsa.

ROWDY VOICES OS. Ilsa steps to Walker, grabs his face. The door bursts open and THREE REVELERS see:

Ethan, Walker and Ilsa standing in a pool of blood. Ilsa hold’s Walker’s head in his hands.

Ethan steps toward the Revelers:

The revelers quickly back out of the room. When they’re gone:

Cherry Rev. (Nov 16 '17) - 1908 23.

Ethan puts the bracelet on.

Ethan removes his jacket, dusts it off.

They both look at Ilsa.

Cherry Rev. (Nov 16 '17) - 1908 24.

Ethan heads for the door, putting his jacket on again.

Ethan heads for the door. Ilsa looks at Walker.

Ethan thrusts out his hand to be scanned. Another appears on top of it. REVEAL: Ilsa’s joined him. A BIG, SECURITY MAN scans them and Ethan heads in, Ilsa in step with him.

Cherry Rev. (Nov 16 '17) - 1908 24A.

Cherry Rev. (Nov 16 '17) - 1908 25.

She walks off, entering before him. Ethan pauses, before following.

Double doors open and Ethan steps through. The sound of the rave vanishing entirely as the heavy door closes behind him. Ilsa is somewhere ahead.

The lounge is a Cabaret, a speakeasy, a throwback to another century with a very different crowd from the ravers outside. This is a distinctly sketchy rogues gallery of VILLAINS and their HENCHMEN, a handful of DATES. This place is dangerous.

SPOT LIGHTS CONVERGE on the center stage, finding A WOMAN with her back to us, blonde hair and pale skin shimmering. It’s her, singing the first strains of “Feeling Good.” Meet:

ALANA MITSOPOLIS, aka The White Widow.

Cherry Rev. (Nov 16 '17) - 1908 26.

Ethan scans the crowd, noting the rough character of the clientele. Anyone in here could be a killer, and most probably are. But which ones are here for Lark?

Ethan contemplates his options. Then the Widow’s eyes find Ethan, knowing at a glance he is there for her, pleased by what she sees. Ilsa studies Ethan studying the Widow. She is not what he expected. The Widow makes eye contact with him as she continues to croon.

The song ends, the crowd applauds.

Ethan and the Widow each move toward the bar where they meet.

The Widow sidles up to the bar, motions to the BARTENDER. Her drink arrives just as Ethan does.

He has one eye on the roomas they speak. A MAN glances at him. Coincidence or killer? Impossible to tell.

VOICE (O.S.) You don’t really expect me to believe you’re John Lark.

Cherry Rev. (Nov 16 '17) - 1908 27.

She picks an imaginary spot of lint off his sleeve. He grabs her wrist firmly, a man not wanting to be touched. The Widow is shocked. No man has ever treated her this way.

But before she can answer:

VOICE (O.S.) Take your hand off her.

Ethan spins, pulls the Widow close, pressing her back to his chest, his lips not far from her ear. She's not sure how she feels about it.

REVEAL: Zola, stepping in behind the widow.

CLOSE ON: Ilsa, tensing as this new variable enters her situation. She notes the three thugs pause, waiting.

Ethan says nothing. His Lark is a man of few words. A man whose whole being reads: Your move.

Cherry Rev. (Nov 16 '17) - 1908 28.

A FEW PEOPLE nearby sense the potential for violence and move away, making Ethan a clearer target. The moment is electrified. Ethan lets go of the Widow's wrist, shifting his grip gently to her bare forearm - brazen, intimate. Her head tilts ever so slightly.

She stares at her henchman. His threat hollowed. Ethan has made a mortal enemy. But he's read the Widow right. She likes this. He stares at Zola, says nothing. There’s something about Zola. He’s nervous. Ethan sees this.

Furious, Zola leaves.

Alt:

Ethan doesn’t have it.

Cherry Rev. (Nov 16 '17) - 1908 29.

Beat. The Widow glances at the room, taking in the faces around her a little differently. Some people are staring a little too directly.

Ethan takes her by the arm and turns for the door, stopping when he sees TWO MEN in his path, coming this way. He turns to his right, seeing a THIRD MAN coming from across the main floor. He turns around and sees a FOURTH man closing in.

He calculates his best move and makes it.

BAR FIGHT ENSUES (ACTION TBD):

One of the Gunman makes his move, opening fire as:

Ilsa and Zola draw their guns simultaneously and fire, killing the gunman. Immediate panic. People scatter as:

The other Gunmen join in the fray.

Ilsa takes cover, pulls a second gun, slides it across the floor to Ethan. He catches it, rolls over and opens fire.

In seconds, all three gunmen are dead, but a SECOND WAVE OF SHOOTERS emerges.

Cherry Rev. (Nov 16 '17) - 1908 30.

Chaos rules. The room is in a full-blown stampede. Everyone is running for the exits. Ethan gets up, hauls the Widow to her feet and heads for the nearest exit, guns empty.

Ilsa falls instep with them - together they cut through a phalanx of would-be shooters, disabling, disarming.

A gunman gets behind them, aiming for Ethan. Only the Widow sees him. To our surprise, she draws a knife from the slit in her dress and slashes the gunman’s arm. Ethan turns as she slices the gunman’s throat.

They are close to the exit now. Ethan looks for Ilsa, but cannot see her in the chaos. AN ASSASSIN steps in his path, about to shoot Ethan in the chest. He has no choice but to protect the Widow bodily.

Walker appears, disarming the assassin and breaking his neck. He and Ethan clear a path to the door, towing the widow.

Ethan looks back, trying to find Ilsa, but she is gone.

Ethan, the Widow and Walker exit the lounge, walking fast without drawing attention. Ethan looks back - thugs are coming after them.

They break into a run. Clearing the lounge entrance, they escape into the crowd before the thugs can shoot.

The three of them rush through the crowd and down the stairs. Widow points to several waiting cars. They head towards them, the crowd thinning out.

Ethan reaches the car, as:

Tan Rev. (Jan 31 '18) - 1518 31.

Zola appears from behind them, two henchmen at his back.

Arm out, Zola charges at him. Ethan reacts, snapping round, putting Zola into an armlock and slamming him down onto the trunk.

One of the henchman draws on Ethan’s back. Walker steps in, disarms him. He aims at the two henchman, holding them off. They pause, hands up.

Zola continues to struggle.

Zola relents, and Ethan lets him up.

The Widow gets into the BMW, Ethan behind her. Zola gets into the Range Rover, slamming the door behind him. The henchman follow him watched by a wary Walker, gun up.

With the threat gone, Walker hops into the front of the BMW and they speed off. Moments later they pass a series of cops, who rush into their vacated spot, heading into Palais.

The Widow looks down at her dress, sees a splash of someone * else’s blood there. She looks at Ethan. *

WIDOW * You make one hell of a first * impression. *

Tan Rev. (Jan 31 '18) - 1518 31A.

WIDOW * (re blood) * It’ll wash out. *

ETHAN * That’s not what I meant- *

WIDOW * I know what you meant. *

She studies him, looking deep into his eyes. *

ETHAN * That’s the point. *

WIDOW * You have something you believe * in... You’ve given up everything * for it... certain that you’re on * the right side. But now, you’re not * so sure you can win. *

And we know she’s right. *

ETHAN * Why do you? *

She blinks. Ethan studies her now. *

And we know he’s right. *

Tan Rev. (Jan 31 '18) - 1518 31B.

WIDOW * Whether we know it or not... we’re * all pawns in someone else’s game. * The only question is... are we on * the winning side? *

The motorcade makes it’s way into a tunnel.

The three cars cruise down a narrow street and through a large gate in a high wall TO REVEAL:

A huge estate hidden in the middle of the city. Everyone gets out, heads into:

Just as surprising as the house is what we find inside the large living room:

A DOZEN MEN assembling an impressive variety of weapons and armor. Someone looks to be starting a war.

Ethan and Walker conceal their surprise. Ethan walks over to a detailed map of Paris dominating a center table.

Tan Rev. (Jan 31 '18) - 1518 32.

He notes photographs of an imposing government building, police vehicles, a helicopter, some sort of armored transport.

Zola grudgingly points to the map.

ETHAN * ...extract the asset? *

Zola nods. Ethan notes a particular photograph under the * others. He pulls out the blurry photograph of A MAN IN PRISON * JUMPSUIT - heavy beard, haunted eyes filled with resolve.

Ethan studies the photo with cool familiarity.

CLOSE ON: Walker’s muted reaction. He has heard that name.

Tan Rev. (Jan 31 '18) - 1518 33.

WALKER * He was captured by British and * American agents two years ago. * Since then he’s been in a never- * ending interrogation - passed * around from one government to * another to answer for his crimes. *

Ethan and Walker share a knowing glance.

Ethan stares at Lane’s eyes. The eyes stare coldly back.

WIDOW * There must be a misunderstanding, * I’m just a broker, I connect a * buyer and a seller for a small fee. * My seller in this case is not * interested in cash. So, if you * want the plutonium... *

ETHAN * I have to extract Lane and make a * trade. *

WIDOW * That’s right. *

This is bad. After a glance to Walker: *

ETHAN * How do I know the seller even has * what I want? *

The Widow nods to Zola who opens a black case resting on the * table. Inside is a single plutonium core. *

Tan Rev. (Jan 31 '18) - 1518 33aA.

WIDOW * A down payment in good faith. A * courier will deliver two more * within forty-eight/seventy-two * hours, in exchange for him. *

So close. So far. Ethan studies the map. *

ETHAN * Alright, so tell me what happens * after the diversion? *

She studies him, eyes narrowing.

SILENCE

Alt: *

Ethan feels Walker. He turns, looks, they make eye contact. *

Ethan turns back to the map. *

The Widow studies him, eyes narrowing. *

A covered road along the Seine River. It is essentially a concrete box tunnel, open to the water on one side. A motorcade approaches. CLOSE ON:

AN ARMORED PRISON TRUCK, protected from in front and behind by a motorcade of POLICE on motorcycles, paramilitary vehicles, HEAVILY ARMED MEN.

Score is creeping in. A high sustain. Claustrophobic.

The motorcade passes an OPEN GARAGE PORT on the left, a LARGE TRUCK IN THE SHADOWS, perpendicular to the action.

The motorcade is almost at the end of the tunnel when:

A SECOND TRUCK pulls out in front of the tunnel, blocking the exit. Its side slams down as the motorcade stops.

HEAVILY ARMED AND ARMORED GUNMEN pour out, firing. ONE MAN launches a shoulder-fired rocket, destroying an armored car before SOLDIERS can even deploy.

Cherry Rev. (Nov 16 '17) - 1908 33A.

THE FIRST TRUCK PULLS OUT behind the motorcade, sealing them in. More gunmen deploy. The tunnel is a kill-box. The shrill score intensifies.

We follow a MASKED MAN from the first truck, through the massacre. The masked man moves from cover to cover, not firing, moving in the wake of the others.

He gets to the prison truck, slaps a charge on the lock, and moves to blow it.

PING

A bullet hits the truck next to his head. He ducks, spinning and shooting in one motion, by instinct.

A YOUNG COP goes down, wounded. The Masked Man walks up to the Cop, stands over him, removes his mask TO REVEAL:

Ethan, horrified by what he’s done. But other gunmen come up to watch. And he has a cover to maintain. The Cop holds up his hands, begging. Ethan raises his gun and fires.

Tan Rev. (Jan 31 '18) - 1518 34.

We never left. Ethan considers the scenario for a beat:

ETHAN * Kill everyone. That’s your plan. *

ZOLA * There will be no witnesses. *

What guarantee do I have that Lane * walks out of this alive? *

ZOLA * He’s in an armored box. We’ll pull * him out when it’s safe. You want * your plutonium, this is the price. * Or do you draw the line at killing * cops? *

Beat. All eyes are on Ethan. He is Lark now and has to play * the part. He glares at Zola. *

WIDOW * That’s John Lark you’re talking to. *

Ethan eyeballs Zola. *

ETHAN * I kill women and children with * smallpox. I have no line/there is * no line. *

CLOSE ON The Widow. She is not exactly pleased with this * situation, but she covers. *

WIDOW * Sleep well, everyone. Busy day * tomorrow. *

And she leaves. *

Tan Rev. (Jan 31 '18) - 1518 35-38.

36 OMITTED 36 *

37 OMITTED 37 *

Tan Rev. (Jan 31 '18) - 1518 39.

Overlooking the Eiffel Tower. Deserted in the pre-dawn hours after a rain storm. Walker moves toward a stationary figure across the wide open expanse. The figure turns, REVEALING:

Sloane.

Green Rev. (June 11, 17) 39aA.

Beat.

Cherry Rev. (Nov 16 '17) - 1908 39bA.

As Sloane considers:

Sloane ponder this, then shakes it off.

Cherry Rev. (Nov 16 '17) - 1908 39cA.

That gives Sloane real pause. The look in her eyes is unnerving.

He pulls a phone from his pocket, hands it over face down.

Sloane turns it over. We are expecting to see the screen smashed. But it isn’t. The phone is pristine.

Walker is lying to Sloane.

A parking slot perpendicular to the tunnel. A truck backs in-

- Ethan cuts the engine, sitting back in his chair. Walker rides shotgun. Both wear tactical gear. After a long silence:

Cherry Rev. (Nov 16 '17) - 1908 39dA.

Cherry Rev. (Nov 16 '17) - 1908 39A.

Walker pauses to consider.

Ethan’s silence confirms it.

Ethan gets out of the truck.

Ethan walks from the truck bay, towards the river.

CONCRETE PILING, the Seine river beyond. Ethan sticks a SMALL CAMERA on the corner of the piling. He adjusts it, looking at a phone in his hand which acts as a camera monitor. On screen, he sees down the long tunnel.

He hears a whirring, and looks out. A military helicopter is flying in, heading towards the Finance Ministry in the distance.

Blue Rev. (April 29,17) 40.

The roof of Paris’ semi-brutalist finance ministry. In the back of a MILITARY HELICOPTER a man sits, unmoving, his back to us.

The heli touches down and the side door opens. TWO SOLDIERS IN TACTICAL GEAR grab the man, lifting him onto the pad to reveal SOLOMON LANE. Lane wears a faded white straightjacket, his ankles chained to each other. His grizzled beard and tousled mane contradict the intense focus in his eyes.

MORE SOLDIERS are waiting for Lane and his escort at the edge of the pad.

Cherry Rev. (Nov 16 '17) - 1908 41.

MORE SOLDIERS join. Lane accumulates them as he goes.

Lane is led into an armored box truck, in the middle of a motorcade.

He sits. The chain running from his wrists to his ankles is bolted to the floor. He’s left alone, the door slamming shut.

Lane sits, contemplating, as the truck drives through Paris.

The box truck emerges into the ministry’s inner courtyard, escorted by armored escort vehicles and police motorcycles. It roars through and exits onto the street. As the motorcade heads for the river we ANGLE ON:

A HELMETED, BLACK-CLAD RIDER astride a motorcycle. We are over the rider’s shoulder, watching the motorcade. The Black Rider starts the bike and cruises after it.

A THUG watches the approaching motorcade from a rooftop. He says one word into a walkie talkie.

Over the shoulder of A DRIVER as he starts the engine and proceeds up the street - we see the river up ahead, perpendicular.

The motorcade crosses that same bridge over the Seine river, heading toward the intersection at the far end.

Blue Rev. (April 29,17) 41A.

The truck is accelerating steadily as it approaches an intersection - the perpendicularly Seine River is visible just beyond. The Driver is going much to fast to make the turn. That’s the point.

Cherry Rev. (Nov 16 '17) - 1908 42.

The truck roars out from between two buildings, wheels cranking hard. The truck rolls inevitably, slamming down on it’s side and skidding across the four lane road.

The COP driving the lead car sees the accident up ahead just as he’s turning. The road is completely blocked by the accident. The MOTORCYCLE COPS in front of him skid to a halt, fan out, wave the truck to keep moving, go past.

The motorcade diverts down a ramp to the tunnel by the river.

ANGLE ON: The Black Rider drives straight through the intersection, not following the motorcade, but watching as it is diverted.

OTS POV as the vehicles barrel down the tunnel.

Ethan stares at the camera feed. He can see the motorcade approaching. He pulls a hood down over his face until only his eyes are visible. Walker does the same.

At the far end of the tunnel, another truck is waiting to block the way. Zola, heavily armed and armored, is at the wheel, watching through a camera of his own. A THUG RIDES SHOTGUN. The Thug opens a slot behind him, gives a thumbs up.

SEVERAL MORE HEAVILY ARMED GUNMEN in back charge their weapons. This is going to be ugly.

OTS POV down the tunnel. No sign of trouble from here.

Cherry Rev. (Nov 16 '17) - 1908 43.

The lead truck passes. Ethan’s hands tense on the wheel. Walker sinks deeper into his seat. Ethan punches the gas. Walker inhales. Ethan went too soon.

The gunmen in the back of Ethan’s truck are slammed against the back of the truck in a heap and-

BAM - Ethan cuts right through the heart of the motorcade, slamming into the box truck broadside. The impact launches the box truck sideways toward the Seine.

IMPACT. Lane is slammed against the side of the truck.

In the car immediately following the box truck. OTS POV as THE DRIVER slams on the brakes. On impact, we’re thrown into:

The box truck flies into the river. IMPACT.

We’re thrown into the cab of the box truck. DRIVER and SHOTGUN are rocked as they skid sideways into the water.

IMPACT. Lane slams into the wall as the truck hits the river. The vehicle rolls over, immediately taking on water. Lane, you will recall, is chained to the floor.

Blue Rev. (April 29,17) 44.

Ethan sees a cop already jumping out of his car and charging his weapon. Ethan puts the truck in reverse and-

The Gunman are slammed against the back of the cab again.

Ethan looks through the windshield as the cop runs after him, firing. Bullets pepper the glass as:

IMPACT

Ethan’s truck smashes through a rolling steel door at the back of the garage port and onto:

The truck emerges into morning traffic, skidding sideways.

The gunmen in back are slammed into the side wall.

Cars skid, horns blare. Ethan takes off.

The gunmen in back slam into the back doors of the truck. The doors burst open and they spill out onto the street.

Cop cars and motorcycles emerge from the garage port and give chase. A FEW COPS stop to apprehend the battered gunmen. The rest go after Ethan.

Cherry Rev. (Nov 16 '17) - 1908 45.

Zola drives slowly into the open and stares slack-jawed at the mess down the tunnel. TWO STUNNED COPS emerge from the sinking truck. Cops run around the tunnel in total confusion, screaming into radios. Zola hears it all on a police scanner.

Zola’s Thug looks at him, bewildered. Zola guns the engine and takes off.

The truck is filling up with water, rolling slowly. Lane is underwater, then above the water, then under again, gasping desperately for air in the rapidly shrinking pocket.

And then the air is gone. Lane yanks at the chains on the floor, seconds from drowning when:

A BLINDING LIGHT cuts between the two doors. A beat later and they open TO REVEAL:

A SCUBA DIVER with a white-hot acetylene blowtorch. He swims in, shoving a regulator in Lane’s mouth.

Lane inhales desperately as the diver shoves a black bag over his head. Lane tries to resist, but there’s little he can do.

The diver cuts the chain holding Lane to the floor. Then he grabs the chains holding Lane’s wrists and yanks him out of the truck.

Ethan guns it, using the considerable mass of the truck to frighten oncoming traffic out of his way. But he’s also blazing a clear path for his many pursuers.

Under one of the more modern bridges spanning the river. In the distant background, we can see where the truck went in the river. Police boats are circling now. But we’re looking at the boat in the foreground.

Cherry Rev. (Nov 16 '17) - 1908 46.

It is moored to the bridge, a massive caisson hiding it from the view of the police. A SILHOUETTED FIGURE sits at the front of the boat. REVEAL:

LUTHER STICKEL. He’s watching through binoculars. He hears a sound and turns, moving to the side of the boat, and reaches down.

A DIVER SURFACES just beside the boat and yanks off his mask TO REVEAL:

BENJI DUNN. Lane surfaces just behind him, head still bagged.

Luther hauls Lane out of the water.

TIME CUT: As Benji strips off his scuba gear, Luther scans Lane with a sensor of some kind. It detects a signal on Lane’s neck. Luther peals back the collar of Lane’s straight jacket, applies an adhesive patch, rescans. No more signal.

Ethan slams on the brakes, cranks the wheel, skids into:

There’s no way the truck will fit. And that’s the point.

IMPACT

We are thrown from the vehicle and watch it wedge violently in the alley. Ethan and Walker kick out the windshield and scramble onto the hood of the truck as cops screech to a halt just behind them. But the truck has the alley completely blocked. Ethan and Walker jump on a pair of waiting motorcycles. Walker fires up his engine and takes off around a corner. Gone. But Ethan's bike won't start.

Walker weaves through traffic, quickly but not conspicuously. He looks back and realizes?

Cherry Rev. (Nov 16 '17) - 1908 47.

Ethan tries the starter again.

He looks behind him and sees COPS climbing over the top of their truck. One shouts into a radio. The other aims and opens fire. Ethan's bike starts and he takes off around the corner just as bullets fly. But he's been made.

Ethan rounds the corner and onto a wide, four-lane road crossing the Seine. Motorcycle cops come in from behind him, chasing. Ethan evades them, flying across the bridge and through an intersection, losing them in the cross-traffic.

Police boats whip past and we pan to Benji and Luther, cruising calmly along the Seine, ignored. Lane is on the deck, covered in a blanket.

Benji and Luther share a concerned look.

Benji jams their throttle and the boat takes off.

Cherry Rev. (Nov 16 '17) - 1908 48.

OTS POV chasing Ethan across the bridge, through cross- traffic. A COP shouts into a radio.

Zola and his gunmen abandon their truck, tossing their gear into the back, tucking guns in the backs of their waistbands.

Police scanner in hand, Zola crosses to three waiting cars, listening to the frantic police chatter. A moment later, Zola and his thugs are driving away.

Walker drives calmly through the city, looking out for cops.

What he doesn't know to look out for is the Black Rider who is following him at a distance.

See Chase beats in Scene 89.

86 A OMITTED 86 A

2nd Blue Rev. (mm/dd/yy) 48A.

Zola listening to the police chatter. He speaks into a radio.

Zola’s car drives straight. The TWO CARS following split up, turning left and right.

Rue Pyramide - Ethan races through heavy oncoming traffic, without a tail, but sees cops incoming. He swerves, jumping a curb and heading down into a underground car park. A cop car follows.

Ethan blasts through, narrowly avoiding another car pulling out. The Cop sees it too late, and T-bones it, blocking the path. Ethan shoots back up onto the street, and turns onto Avenue de l’Opera

Avenue de l’Opera - Ethan races along the busy street, heading for the Opera house. Two cops pulling in behind him, gaining. A car swerves out in front of him, so he weaves into oncoming traffic, tunneling between cars stuck in traffic.

He breaks clear, just clearing a crossing truck that takes out his pursuers. He angles onto a side street.

In the clear, he drives up a quiet street until: Cops skid out of the streets behind him, sirens flashing. He guns it.

Ethan rides straight onto the Arc de Triomphe, the wrong way. Weaving through hectic incoming traffic, he makes for the far side, losing the cops in the mayhem. He exits the circle down another street.

Narvik - Ethan speeds onto a roundabout and stops, looking around. Cops come from every street. He revs the bike, drifting the back wheel round in a circle toward the only empty side street and goes for it, cops in pursuit.

Cherry Rev. (Nov 16 '17) - 1908 48AA.

Ethan rounds a corner, going like hell toward a perpendicular median.

Cherry Rev. (Nov 16 '17) - 1908 49.

He looks behind him at two police motorcycles still in pursuit. A car pulls out in front of him. He sees it too late.

IMPACT. Ethan t-bones the car and is launched over the roof. He lands hard on the median. Stunned, he pulls a knife from his boot, staggers to his feet and runs. COPS screech to a halt and swarm after Ethan. He leaps over a hedge in the center of the median and falls out of sight.

The pursuing cops draw their weapons, leaping over the hedge.

But Ethan is not there. Instead they find a large hole, covered in mesh with a fresh hole in the center. They lean over, looking in to see a dark cavern below.

Traveling away, looking up at the same hole. Tilt down TO REVEAL: Benji and Luther at the helm of their boat. Ethan stands into the foreground, banged up, but safe. He nods to his friends, regards the shape of Lane on the floor, then faces forward. REVEAL:

A wide and low arc tunnel cutting under the city. The boat moors near an archway. The team haul Lane to his feet and disembark, heading up a set of stairs in the archway.

Walker paces at the top of a set of stairs. Benji rushes up, sees him, and turns to back to Ethan. Ethan gestures on.

They come up into a garage with an older BMW sedan. Luther brings up the rear with the Lane.

Walker and Benji rush to open two large garage doors at the end of the space. Ethan is just opening the driver's door when we REVEAL:

A YOUNG FEMALE BEAT COP stands outside writing a parking ticket. She turns just as they open and time stops.

COP’S POV. The team stand around their getaway car with a hooded, chained man.

Yellow Rev. (May 15, 17) 50.

Ethan starts to move towards the cop as she draws and aims.

Walker and Benji turn to move back to the car. The cop aims here, there, everywhere.

Walker and Benji freeze.

Ethan walks slowly towards her.

Ethan raises his hands, but keeps walking, as do the others. The Cop aims at him.

BANG. Everyone startles. Who fired? The Cop falls. Ethan steps out of the garage to REVEAL:

FOUR OF ZOLA’S THUGS approach, weapons out.

Thug 1 has his gun up.

Yellow Rev. (May 15, 17) 50A.

Thug 2 walks up to the cop, aiming.

Ethan reacts with lighting speed, pulling a pistol from his back and executing all four men. His team is just as stunned as the Cop.

Ethan rushes to the cop, kneeling beside her, assessing. He takes her hand, presses it to the wound. She winces.

He grabs her radio, and holds it up for her.

Ethan and this young woman share a long look. We hear sirens.

He steps back from the cop and heads toward the car. A moment later, he and the team are crammed inside - Ethan and Lane in front, the rest in back, driving away with the sound of sirens approaching.

ANGLE ON: The black rider goes after the team.

Cherry Rev. (Nov 16 '17) - 1908 51.

Cop cars whiz past, none the wiser. We've made it.

Ethan turns down a side street.

SLAP. A bullet punches through windshield and the bag on Lane’s head. He slump across the front seat. An instant of stunned horror, then Ethan sees:

THE BLACK RIDER on an overpass above a three way intersection up ahead, rifle in hand.

Ethan punches the gas, driving TOWARD the rider. The rider opens fire.

Bullets pepper the roof and hood of the car until it vanishes under the overpass and out of sight.

Ethan slams the brakes, spins the car.

Luther, Benji and Walker bail. Ethan guns the engine, taking the car back into the open, left down the three way intersection.

Cherry Rev. (Nov 16 '17) - 1908 52.

The road is flanked by a stairwell leading up to the overpass. The black rider is racing down it on the back of a screaming motorcycle, hot on Ethan's tail.

Ethan looks down at Lane on the front seat, rips the bag off his head, expecting gore. To our surprise, Lane sits bolt upright, hissing in pain. He's been shot through the earlobe.

His eyes adjust and he double takes when he sees Ethan. He scowls.

Rue de Garibaldi - Ethan pulls into a long narrow parking lot underneath the Metro tracks. Racing through parked cars, Ethan floors it. The Rider follows, gaining.

Ethan speeds through an intersection, narrowly missing cross traffic. A car skids to a halt, barely missing him and blocking the intersection.

The Rider skids to avoid it, swerving out from under the metro and into oncoming traffic. The Rider is now on a parallel track to Ethan’s left, gaining.

The rider gets up along side Ethan and shoots again, shattering the driver’s side windows.

OVER ETHAN as a car turns into the lot, coming at him head on. Ethan skids, swerves left, smashing through a row of parked motor-scooters, cutting directly across the Rider’s path. The rider overshoots, skids, and goes after Ethan through a busy intersection filled with cross traffic.

Paris Streets - Ethan races through the streets of Paris, pursued by the rider.

Rue de Barres - Ethan turns down an alley, and flies towards the end, the rider hot on his tail. He gets to end, sees a flight of stairs, and brakes desperately spinning the car. Too late. Mid spin, the car takes off, flying off the stairs, landing and skidding to a halt.

Ethan roars off. The rider follows, jumping the stairs, maintaining pursuit.

Cherry Rev. (Nov 16 '17) - 1908 52aA.

Palais Royale - Ethan rounds another corner, and flies over a humped road. The rider is right behind him. Ethan turns again, and the rider breaks off, turning into:

The Concorde colonnade parallel to Ethan’s street - increasing speed. The rider skids to a halt at the end, drifting round a corner and exits onto:

Cherry Rev. (Nov 16 '17) - 1908 52A.

The rider appears up ahead, sitting in the road broadside, visor up, aiming at Ethan.

Ethan’s eyes narrow. He slams on the brakes, skidding to a halt and sparing the rider a nasty collision.

CLOSE ON: The rider, lowering the weapon TO REVEAL:

Ilsa. Her face flashes many emotions at once: Hurt, anger, betrayal.

CLOSE ON: Lane, seeing Ilsa.

Ilsa’s eyes narrow. She shifts focus to Lane, snaps the weapon up as:

Ethan punches the gas just as Ilsa fires. The bullet pierces the windshield, narrowly missing Lane. Ethan plows into Ilsa’s bike, sending her over the roof and into the street.

She gets up, watches him drive off, and then hobbles off the street, out of sight.

Tan Rev. (Jan 31 '18) - 1518 53.

The car is shot to pieces. Ethan has had a long morning.

Lane can wait. He sits back and savors the fresh air rushing through the shattered windows.

Ilsa manages to pick herself up and pull off her helmet, watching Ethan’s car speed away.

The sound of approaching sirens gets her moving. She limps down the alley she came from.

RACK FOCUS TO REVEAL: ZOLA, parked just up the street, having seen the entire incident.

A graffiti covered space under an abandoned overpass somewhere on the outskirts of Paris. Sirens in the distance.

Luther, Benji and Walker are waiting by a fresh car as Ethan drives in. Ethan is out of the car in a flash.

Luther and Benji open the passenger door, coming face to face with a scowling Lane. Benji doesn’t mask his disappointment.

Ethan crosses to Luther who hands him a stopwatch. *

LUTHER * He has a microwave tracker in his * neck. *

ETHAN * You know what to do. *

Tan Rev. (Jan 31 '18) - 1518 53aA.

Walker yanks Lane out of the car and sits him on the remains of a metal crate. Luther and Benji pull on rubber gloves * before approaching Lane. Benji rips the adhesive patch from * Lane’s neck. *

BENJI * I want you to know this won’t hurt * enough. *

ETHAN * Ninety seconds. *

Tan Rev. (Jan 31 '18) - 1518 53A-53Aa.

Benji plunges a needle into Lane’s neck. He never flinches. * Luther holds a device that scans Lane’s neck, searching for * the exact location of the signal. A light on the device alternates from solid red to fleeting green.

LANE * When I down a plane it is to kill a * specific passenger. When I bomb a * factory it is because I want it * destroyed. In either case, I * eliminate a vital part of a corrupt * and crumbling system. *

Tan Rev. (Jan 31 '18) - 1518 53AA.

ETHAN * Luther. *

LUTHER * Almost there. *

LANE * You see the end as clearly as I do, Ethan. Governments the world over are descending into madness. The Syndicate was created to tear them down, brick by brick-

These words from Ethan’s nightmare strike home. *

The light on Luther’s device turns solid green.

Tan Rev. (Jan 31 '18) - 1518 53B.

Luther hits a button and the devices zaps Lane’s neck like a * center-punch, extracting something from his flesh. Luther * inspects the clear tube on the device, noting a small capsule * inside, half black, half yellow. *

Benji attaches the transponder to the drone’s belly as Ethan * grabs a remote controller. Benji steps back as the propellers * spin. Ethan sends it into through a hole in the roof and out * of sight.

The teams waits as the approaching sirens crescendo and pass * them buy. They’re in the clear. *

Benji and Luther collect the gear, leaving Walker to haul * Lane up, bringing him face to face with Ethan. *

Walker drags Lane away, whispering: *

Walker shoves Lane in the back of the van and seals him in. A moment later, the van is driving away.

102aA INT. PRIVATE AIRPLANE - DAY 102aA *

Hunley’s phone rings and he answers.

102bA INT. OFFICE - INTERCUT 102bA *

Cherry Rev. (Nov 16 '17) - 1908 53Ba.

Hunley buries his head in his hands.

Curious, Hunley looks at his computer. Decryption software decodes classified documents, including a photo of the man Ilsa killed in the Grand Palais.

And as Hunley scrolls... Emails, texts, photos...

Cherry Rev. (Nov 16 '17) - 1908 53Bb.

CLOSE ON: She handles the phone Walker gave her.

CLOSE ON: Hands undo the straps on Lane’s straight jacket, unzip to the front of the suit.

Lane wears a fresh change of clothes. Walker zip-ties Lane’s hands together, then his feet together, and offers him a chair. Lane looks, ignores it, crouches down in place to a stress position.

Ethan watches through the glass doors as Walker binds Lane’s hands behind his back. Lane stares holes through Ethan. After a beat.

Benji and Luther shifts uncomfortably at the sound of that.

Cherry Rev. (Nov 16 '17) - 1908 53BA.

Ethan points to three items on the table.

Lark’s smashed cell phone, hotel key card and ID bracelet all sit on the table.

Cherry Rev. (Nov 16 '17) - 1908 53C.

Benji sighs, picks up the phone.

He stands, walks over to another table where a computer and other gear waits. Luther stays seated, staring at Ethan.

Luther glances through the glass doors into the other room. Ethan follows his eyes, focusing on Walker.

Cherry Rev. (Nov 16 '17) - 1908 53CA.

Before Ethan can respond, Walker emerges from the back room. Lane squats in a stress position with his back to us, accustomed to it. Walker closes the glass door behind him, senses the tension.

They look at him.

Cherry Rev. (Nov 16 '17) - 1908 53D.

Walker exits the room toward the kitchen.

Ethan walks to Benji. Luther notices the hotel key card, picks it up.

CLOSE ON: Lark’s smashed cell phone is connected to Benji’s computer. The screen is black. Ethan steps up to Benji, seated at his computer.

Benji sighs. As he pries the phone open:

Cherry Rev. (Nov 16 '17) - 1908 53E-55.

Ethan and Benji both turn to see Luther at the other table - a magnetic card reader sticking out of his tablet’s microphone jack. Ethan and Benji move over to him.

He hands the card to Ethan.

Ethan looks at Benji.

Ethan smiles, pats Luther on the back.

Walker enters the room with a cup of coffee in his hand. He reads the vibe.

And off Ethan’s smile we go to:

Cherry Rev. (Nov 16 '17) - 1908 56.

A secluded path along the Seine. Notre Dame in the background.

Ethan walks alone with the river to his left. The Widow approaches from the other direction, Zola and another goon behind her, watching.

Pink Rev. (May 04,17) 57.

She thinks about this, turns, looks back at her brother. She turns back to Ethan, back to business.

Ethan hands her an envelope.

Cherry Rev. (Nov 16 '17) - 1908 58.

It wasn’t.

She steps closer still, intimate now.

She kisses him. Not a tender kiss. A threat. She lingers for a moment.

She turns, walking away. As she leaves:

CLOSE ON: ZOLA, glaring at Lark with a slightly satisfied smile until his sister confronts him.

She walks on, followed by Zola and the goon. Ethan turns to depart. RACK FOCUS to the far side of the river and a figure standing on the bank, watching: ILSA.

Cherry Rev. (Nov 16 '17) - 1908 58A.

Ethan moves through the city on foot, slipping through an arcade, unaware that Ilsa is following. He turns a corner in front of us and she follows, only to find an empty street.

Ilsa searches for Ethan, stalking forward, picking up the pace. She comes to the end of the arcade and looks. In the distance Ethan enters an archway. She follows.

Ilsa passes an iron linked archway. Ethan is on the other side, disappearing in the distance.

Cherry Rev. (Nov 16 '17) - 1908 59.

She rounds the corner only to find an empty courtyard. Ethan has vanished. After a beat, she realizes, turning around. Ethan stands in the distance, watching her.

She approaches. Ethan moves under the trees. She mirrors him. They meet.

Pause.

Yellow Rev. (May 15, 17) 59A.

Cherry Rev. (Nov 16 '17) - 1908 60.

Her face says he is right.

Ethan knows this all too well.

When he doesn’t answer:

Tan Rev. (Jan 31 '18) - 1518 61-66.

And off Ethan’s pained expression, we cut to:

109 OMITTED 109 *

110 OMITTED 110 *

111 OMITTED 111 *

112 BLACK 112

And from out of the blackness, a stationary figure takes shape. We are walking toward: JULIA. Solomon Lane steps out of the darkness behind her, leans over her shoulder, almost intimate. He doesn’t need to say it...

Ethan wakes with a start. He is in a van facing Solomon Lane * who stares at him blankly. Walker sits beside Lane. Luther * and Benji are in front. Ethan’s phone rings. He answers. *

ETHAN * Yes? *

114 OMITTED 114 *

Tan Rev. (Jan 31 '18) - 1518 67.

The Widow, seated in a car next to Zola, on the other end of the phone, a smile on her face.

WIDOW * Are you ready to meet the courier? *

Looking down on the Widow’s car from a high vantage. REVEAL:

Ilsa, watching...

Outside the London stock exchange in the shadow of nearby St. * Paul’s cathedral. *

doorway before slamming the door in our face. *

A storage area of some kind, containing old church relics. *

In darkness - Ethan enters turning the light on - they come * on staggered as he and Luther walk in silhouette into the * room. The lights are still coming on as we see somebody sat * in deep background in silhouette. *

The man stands and now, in the light, we see it’s Hunley * (holding a folder in one hand) *

Luther and Benji, both carrying heavy bags, Ethan and Walker * with a cuffed Lane and Ethan all come to a stop: *

ETHAN * Mr. Secretary- *

Tan Rev. (Jan 31 '18) - 1518 67A.

When he sees Lane, he cannot hide the look of disappointment * on his face. *

HUNLEY * I prayed to God it wasn’t true. *

ETHAN * (re team) * My team, they were only acting on * my orders. *

BENJI * In his defense, sir; if Ethan * hadn’t intervened, a great many * people would’ve been killed. *

HUNLEY * Yes, Dunn, I’m sure the good people * of Paris and the nation of France * as a whole will take that into * account. * (to Ethan) * What the hell happened? *

Off Ethan’s look we go to: *

Lane is escorted by Luther and Benji into a makeshift cell - * a cage of steel mesh for storing more valuable items, long * since gone. *

He is made to sit in a chair, then cuffed to it by Luther. * Meanwhile, Benji places a camera on the wall, similar to the * one Ethan placed in Paris. *

Luther produces an injection gun like the one that knocked * out Delbruuk. He injects Lane’s neck. Lane passes out. *

Luther and Benji enter as Ethan finishes debriefing. Walker * paces. Luther places the needle gun on the table. Benji opens * a laptop. The screen shows Lane in his cell via camera. *

ETHAN * At which point we were instructed * to come to London and await further * instructions. *

Hunley takes a beat to process. Finally. *

Tan Rev. (Jan 31 '18) - 1518 67B.

HUNLEY * What happens now? *

Ethan produces a mask machine. *

ETHAN * Now, we meet the Widow in twenty * minutes. She takes us to a courier * who’ll hand over our missing * plutonium in exchange for Solomon * Lane. Or, in our scenario...Benji. *

WALKER * Jesus. *

BENJI * I’m sorry, what? *

ETHAN * Luther and I will take him to meet * the courier. Walker stays here and * guards the real Lane. *

WALKER * Absolutely not. *

BENJI * Wait. Why do I have to be Lane? *

He looks to Luther who simply holds up his hands and shrugs. *

WALKER * Our mission - my mission - is to * recover that plutonium. I will do * so at any cost. Even if I have to * trade Lane for it. The real Lane. *

ETHAN * And I’ll never let him go. *

WALKER * When the Apostles realize that * you’re playing games, you’ll lose * the plutonium. Again. *

ETHAN * Let us worry about the Apostles. We * actually have a bigger problem. *

HUNLEY * A bigger problem? *

ETHAN * Ilsa. *

Tan Rev. (Jan 31 '18) - 1518 67C.

BENJI * Ilsa? Our Ilsa? Ilsa Faust Ilsa? * How is she mixed up in all of this? *

ETHAN * She has orders to kill Lane. Direct * from MI6. *

LUTHER * (realizing) * That was her in Paris. On the bike. * (off Ethan’s nod) * Ethan she tried to kill us. *

ETHAN * Not us. Lane. She was trying to * kill Lane. She has no choice. *

BENJI * And she will try and kill me. *

ETHAN * I won’t let that happen. *

BENJI * How - exactly - won’t you let that * happen? *

ETHAN * I’m working on it. Right now we * don’t have a lot of time. We have * to get ready for that meeting. *

HUNLEY * The meeting is a trap. *

All eyes turn to Hunley. *

LUTHER * But... if Sloane knew the meeting * was a trap, why didn’t she just * tell us? *

Tan Rev. (Jan 31 '18) - 1518 67D.

HUNLEY * Because John Lark could have been * anyone - including one of us. And * now her suspicions are confirmed. *

Hunley drops the file on a table in the center of the room. * Ethan opens it, reads. Hunley starts to move around the * table, making his case: *

ETHAN * (staring at pages) * Is me. *

HUNLEY * I’ve got to hand it to you, Hunt. * Normally when people refer to you * as your own worst enemy, it’s just * a figure of speech. *

Ethan finds a picture of Ilsa in the file. *

ETHAN * Where did she get this information? *

HUNLEY * She didn’t say. She did, however, * grant me the opportunity to bring * you in myself, on the condition * that I terminate this mission and * hand over Solomon Lane personally. *

Tan Rev. (Jan 31 '18) - 1518 67E.

ETHAN * Sir, you can’t do that- *

HUNLEY * Hunt- *

ETHAN * I know Lane. He has no intention of * going back- *

HUNLEY * Which is why we’re taking him back. *

ETHAN * Which means that’s exactly what he * wants us to do. *

HUNLEY * Hunt. *

ETHAN * What do you think this is? Do you * think it’s a coincidence that * Sloane just happenedupon this? * Lane had it sent to her. He knew * how she’d respond. Just like he * knew the Widow would turn us in. * Don’t you see? * (re file) * This Sir, this is the trap. We’re * being directed. *

HUNLEY * Hunt. *

ETHAN * Sir, there are still two plutonium * cores in the wind- *

HUNLEY * AND YOU LOST THEM. *

That lands like a punch. After a beat. *

BENJI * In all fairness, sir.We all lost * them. *

LUTHER * Respectfully, sir. You weren’t * there. *

Tan Rev. (Jan 31 '18) - 1518 67F.

HUNLEY * Making excuses for him your full- * time job now? *

ETHAN * (waving them down) * It’s ok, just... *

Walker backs slightly away from the table, leaving them to * it. *

HUNLEY * (re file) * Ethan, please don’t make this * harder than it already is. I can’t * protect you any longer, can’t you * understand that? This is as close * as you ever gonna get to that * plutonium. *

Beat. *

ETHAN * (re file) * You don’t actually believe this... *

HUNLEY * I believe I’ve been given a choice * to protect you or to protect the * IMF. Which is why I’m taking you * in. *

ETHAN * And if I refuse? *

Hunley steps up to Ethan. *

HUNLEY * (re Walker) * What do you think he’s here for? * He’s not just some observer. He’s * an assassin - Erika Sloane’s number * one plumber. If you go rogue now, * he’s authorized to hunt you down * and kill you. *

All eyes settle on Walker: *

WALKER * That’s the job. No hard feelings. *

HUNLEY * Accept it. You lost this one. * What’s done is done. *

Tan Rev. (Jan 31 '18) - 1518 67G.

ETHAN * No sir- *

HUNLEY * I’m not asking you, Hunt. I’m * giving you a direct order. This * mission is terminated. *

Ethan refuses to move. Hunley turns to Luther. *

But his face contorts in a mask of pain before he can finish. * He his hand slaps the side of his neck and he turns, finding * Ethan there with the needle gun. Hunley is stunned. Luther * and Benji are horrified. Walker is a bit impressed. *

ETHAN * I’m sorry, sir. You gave me no * choice. *

Hunley crashes. Luther and Benji catch him, easing him to the * floor. Ethan turns to Walker. *

Long beat. *

WALKER * In. *

LUTHER * Ethan... *

ETHAN * Benji needs to get ready. *

LUTHER * Ethan- *

ETHAN * There’s no time.. * (off Luther’s look) * Luther, please. I need you to trust * me. *

Tan Rev. (Jan 31 '18) - 1518 67H.

Luther scans an unconscious Lane’s face, as Benji stands next * to him, dressed identically to Lane. *

Benji check the progress of the machine, then sits down back * to back with Lane. *

LUTHER * Are you alright? *

BENJI * (Lanes voice - through * voicebox) * Yeah, just got a bad feeling about * this one. *

Luther hands over the mask and Benji pulls it on over his * head. The transformation is remarkably swift. Benji stands, * turns, looks down at the unconscious Lane. They are * identical. *

Luther handcuffs him and they leave. *

Walker looks at the CCTV from Lane’s cell as Ethan grabs his * gun out of a bag and loads it. *

WALKER * They’re ready. *

Deep behind ETHAN Luther enters with a transformed Benji, * still in hand cuffs. *

ETHAN * If you don’t hear from us... *

WALKER * ...I’ll do it my way. *

Ethan starts walking away. As he goes: *

ETHAN * (to Walker) * Don’t take your eyes off him. *

Ethan follows Luther & Lane as they head towards the exit. *

Walker shuts the laptops. He then picks up a bag and removes * the box containing the tracking device kit and discards it on * the table. He pulls out the syringe case and takes with him * as he heads to Lane’s cell. *

Tan Rev. (Jan 31 '18) - 1518 67I.

Walker enters to find Lane bound in the center of the room. * He throws away the camera, then turns and injects Lane, who * quickly comes to. *

WALKER * Enough games. I’m taking you out of * here. *

LANE * Where’s Hunt? *

WALKER * He’s gone to the meetingwith a * copy of you. *

LANE * Calm down. Call the Apostles. Warn * them. *

WALKER * I have no way of contacting them. * For their safety and mine. What I * do have is an extraction team on * satellite overwatch and a * prearranged rendezvous. They’ll * know as soon as we leave the * building. *

Walker turns to exit. *

LANE * No, I’m staying here. I haven’t * finished with Hunt yet. *

WALKER * Why did you have to make this so * fucking complicated *

LANE * I don’t understand what you mean. *

WALKER * The deal was simple. I help you * frame Hunt, you giveme the * plutonium. You’re wasting time. *

LANE * There cannot be peace without first * a great suffering. The greater the * suffering, the greater the peace. * Guess who... *

Tan Rev. (Jan 31 '18) - 1518 68.

WALKER * When I wrote those words, I wasn’t * referring to your peace orHunt’s * suffering. The old world order * needs dismantling. We have the * tools to dismantle it but all you * seem to care about is that Hunt * lives to take the blame. That’s not * anarchy. That’s revenge. *

LANE * Yes. It is. And when I have what I * want, you’ll have what you want. *

Ethan, Luther and “Lane” emerge cautiously from doorway. Ethan looks up the alley. Luther checks his watch.

Tan Rev. (Jan 31 '18) - 1518 69.

WALKER * You wouldn’t even be sitting here * if I hadn’t set you free. *

LANE * That was Hunt. *

WALKER * With intel I provided. *

LANE * That was the Widow. *

WALKER * My operative gave it to her. And * how do you thank me? Your decoy * almost kills me at the Palais. *

LANE * He had to be convincing. *

WALKER * We’re on the same side. *

LANE * Are we? Really? *

Lane gets up into Walkers face, then sways, blood rushing to * his head. *

WALKER * I offered to kill Hunt.You * wouldn’t let me. Death is too good * for him, you said. *

LANE * You were going to kill Hunt anyway. * That’s not reassurance. *

WALKER * I recruited Delbruuk. I spared the * Apostles lives and offered to set * you free. In exchangefor that * plutonium. *

Tan Rev. (Jan 31 '18) - 1518 70.

LANE * To recover the plutonium, yes, wipe * out the Apostles? Yes. You see * Walker, the only rule in this game * is that there are no rules. Even * Hunt understands that. *

WALKER * Hunt has nothing butrules. You’re * only here now because he didn’t * have the guts to kill you. Sloane * was right. The IMF is nothing but * Halloween. Grown men wearing- *

Walker turns and looks at the mask machine on the table. *

120 OMITTED 120 *

LANE * What? *

Walker turns to Lane, studies him. After a beat, he lunges, * grabs Lane’s scalp with both hands and tears his face down * the middle TO REVEAL: BENJI *

CLOSE ON: An earpiece in his ear. This whole conversation has * been broadcast. *

BENJI * It’s just the job. No hard * feelings. *

Walker grabs him by the throat. Until a pistol taps the back * of his head stops him cold. *

HUNLEY * And you were doing so well up until * this point... *

Beat. In one fluid motion, Walker grabs the gun and wrenches * it free as he turns to face Hunley, pulling the trigger * without hesitation, CLICK. It’s empty. REVEAL: Hunley holds a * second gun tight to his waist, aimed at Walker’s belly. *

Tan Rev. (Jan 31 '18) - 1518 71.

Benji takes the gun from Walker and steps to Hunley who hands * him a magazine. Benji loads the pistol and the two men lead * Walker out of the cell at gunpoint. *

Tan Rev. (Jan 31 '18) - 1518 72-73.

122 OMITTED 122 *

Walker enters to find Ethan, Lane and Luther waiting. They * never left. *

BENJI * How’d I do? *

ETHAN * Never had a doubt. *

Ethan and Luther fist bump. *

LUTHER * Great job. *

ETHAN * I’m beginning to see why you guys * enjoy this so much. *

WALKER * (to Hunley) * You’re making a mistake. *

ETHAN * The mistake was mine, when I saved * your life over Paris. *

WALKER * (Hunley) * This proves nothing. I’m playing a * role just like you are - trying to * recover the plutonium. Like your * man said. There are no rules. *

HUNLEY * That doesn’t explain why you gave * Sloane that dossier and tried frame * Hunt. *

ETHAN * He makes a good point...Lark... *

WALKER * (to Hunley) * He is paranoid, delusional. Just * like the dossier says. *

Tan Rev. (Jan 31 '18) - 1518 74.

HUNLEY * So where did Sloane get that * dossier from? *

WALKER * I have no idea. *

And Hunley holds up a cell phone. On the screen is Erika * Sloane, having heard this entire exchange. *

HUNLEY * Did you get all that Erika? *

SLOANE * I did. *

LUTHER * Oops...bad boy. *

And the lights cut. EIGHT HEAVILY ARMED SPECIAL ACTIVITIES * MEN rush in. Everyone lowers their guns, and raises their * hands. The phone is still in Hunley’s grasp. *

HUNLEY * I thought we had a deal, Erika. *

SLOAN * We did. Now we don’t. I’m bringing * you all in. *

HUNLEY * The plutonium is still out there. *

SLOAN * And I don’t trust a living soul in * that room to do it. We’ll sort out * who’s who in Washington. *

HUNLEY * Erika- *

ETHAN * Sir... Let’s do what she says... * It’s ok. The only real threats are * in this room. And we have them. *

Tan Rev. (Jan 31 '18) - 1518 74A.

WALKER * Do you? *

Tense pause. Ethan sees the confident look in Walker’s eye. *

Two SA men furthest in back open fire, killing the other SA * men. Gunfire erupts down the hall, the team scatter. *

Ethan grabs for Lane, who spins, scything round with two * fists, punching Ethan in the face. Ethan goes down, taking * the fall with a roll, dazed. In the confusion Lane * disappears. *

Benji scrambles for his gun on the floor, but Walker * intercepts, kneeing Benji in the head, knocking him out cold * and grabbing his gun. *

Ethan grabs his gun, shooting as he rises at Walker who ducks * behind a pillar between them. Ethan continues to shoot, * pinning him down. Luther takes the moment to duck behind a * pillar opposite. *

Behind Ethan more SA gunmen emerge, shooting as they advance. * Ethan spins, takes one of them down, and has to take cover * himself. *

With Ethan distracted, Walker tries to make a break for it, * heading toward the original gunmen, away from Ethan. He gets * 10 feet before realising: *

Ilsa enters. Kills one of Walker’s SA men from behind, the * other takes cover behind a pillar. He starts firing back at * Ilsa, who’s forced to tuck behind a pillar herself. *

Walker ducks to the opposite side, now on the diagonal to * Ethan. He sees his chance; Ethan’s back is to him. He raises * his gun, finally ending this but before he can shoot: Hunley. *

Hunley forces the gun down, disarming Walker, and they * punches him back into a cage wall. Walker tries to block as * Hunley rains on him. He pulls a knife from behind his back, * and buries it in Walkers side. *

A beat, and Walker yanks Hunley towards him, almost embracing * him, thrusting the blade deeper. Hunley freezes, in shock, * dying. *

Tan Rev. (Jan 31 '18) - 1518 75.

Walker shoves his body to the side, grabs the gun, and * advances down the room, away from Ilsa. He passes Luther, and * grabs him, using him as a shield to get as far as the table. *

Luther flails, grabbing the injector off the table and * stabbing Walker in the neck with it. Walker tosses him down * and runs. Luther picks up a gun, and shoots after him, taking * down the covering gunman. *

Walker encounters a CIA AGENT. He kills him, takes his coat. *

Benji has come to and is kneeling at Hunley’s side, guns * still firing around them. He pulls Hunley up and sees the * stab wound. He tries to put pressure on the wound. *

BENJI * (ad lib) * Sir, Sir. Man down.Man down. Help, * somebody help...hold on...just * gonna put pressure on this. *

The gunmen gone, Ethan turns and sprints over to Hunley. As * he enters the open Ilsa gunmen turns to shoot him, exposing * his back. Ilsa shoots him. Ethan gets there, but is too * late. *

ETHAN * Sir... *

Luther runs in - tracker machine still in his hand. *

LUTHER * I tagged Walker but he’s on the * run, you go to get him. *

Ethan looks at Benji - Benji shakes his head. *

ETHAN * I’m sorry. *

Hunley puts a hand on Ethan’s shoulder... *

HUNLEY * Walker... *

Ethan watches as Hunley dies. *

Tan Rev. (Jan 31 '18) - 1518 76.

LUTHER * Ethan. *

Enraged, Ethan stands going after Walker. *

Luther grabs him and injects his neck with a tracker. *

Ethan runs off as Luther goes back to Hunley. Ilsa arrives to * find him and Benji of them crouched over Hunley’s dead body. *

Ethan exits the building as a SECOND SA team arrives. Are * they Walker’s men? Sloane’s? What does it matter? *

Ethan has no choice but to run. *

SCENES 126-178 UNUSED *

The bells of St. Paul’s are ringing. A funeral service is in progress, MOURNER’S straggling in. Death is in the air.

The dragnet is closing. Everywhere Ethan looks, there are SA MEN closing in. He runs. He finds himself steered through the underground passage of St. Paul’s.

Ethan enters to find a funeral in process - a coffin at the center of the rotunda, a choir, two thousand mourners.

Trying not to make a scene, he cuts right and moves along the edge of the space.

A beat later, TWO SUITS come in the same door he entered, unable to see Ethan at first. They see him on the far side of the room and take the long way around so as not to cut through the crowd and make themselves known. Both suits talk quietly into their radios. *

Tan Rev. (Jan 31 '18) - 1518 77-87.

Ethan heads for an exit, nearly there when the door opens. * TWO MORE SUITS step in and take position there. They don’t * give chase. They don’t have to. *

Ethan turns for another exit and, again, TWO MORE SUITS * enter. Every exit he can see is suddenly manned with Sloane’s * men. Ethan thinks, notes a stairwell nearby and heads for it. *

Suits are whispering to one another on radios. Several give * chase. *

Ethan charges up the stairs, followed a few beats later by FOUR SUITS.

Ethan navigates the confined passages leading up to:

A corridor lined with old artifacts from St. Pauls’ past.

He enters the circular parapet that overlooks the gallery far below. He exists a door on the other side just as four suits arrive.

Ethan slams a gate behind him just seconds before TWO SUITS reach it. He escapes into:

A chamber just under the roof of the church, lit from small slot windows on either side. The space is occupied by large brick domes. Ethan searches for a way out, finding a small door and through which he exits out onto:

Ethan spies a crane abutting the church and spanning the street beside it. He runs for it.

Cherry Rev. (Nov 16 '17) - 1908 88.

Ethan leaps onto the crane and uses it to cross the street, leaping onto the adjacent building some 120 feet from the church. He heads toward the Thames River.

Easier said than done. Straight ahead means stepping off a six story roof. A construction crane nearby spans the gap between Ethan and a building across the street.

Meanwhile, Walker casually strolls through London’s alleyways, case in hand.

Ethan leaps onto the crane and uses it to land on:

He turns right and runs as fast as he can across the roof. We go with him in a single, uninterrupted shot, leading him, then profile, then chasing him as he arrives at the end of the rooftop, vaulting off of a scaffold and across the street to the next building.

SLAM. Ethan hits the side of the opposite building, just barely catching the edge of the roof. He scrambles to pull himself up.

A WOMAN works at her desk, headphones on, oblivious to Ethan’s legs kicking at her window behind her, then up and out of sight.

Ethan leaps down onto a roof-deck and though an open glass door into:

Cherry Rev. (Nov 16 '17) - 1908 88A.

Benji watches the screen, tracking Ethan and Walker as two dots on a two dimensional map.

A pool of cubicles. OFFICE WORKERS stare at him as he runs through.

Tan Rev. (Jan 31 '18) - 1518 89.

Ethan stops, looking to his left, REVEALING:

A bay window and a covered bridge spanning the river beyond. It has a solar-paneled rooftop with a steel spine running the entire length. Walker is on that bridge.

Ethan grabs a desk chair, spins like a hammer-thrower and:

The chair EXPLODES out the window, followed closely by Ethan, who leaps towards the solar-paneled rooftop below him. He lands on top of some massive air conditioning vents, rolls off, and keeps running. STUNNED OFFICE EMPLOYEES watch from the busted-out window behind him.

A hundred or so massive solar panels are arrayed in two parallel lines along the top of the bridge, a steel spine runs between them. The rooftop is punctuated every thirty feet or so by vertical louvered windows, affording Ethan fleeting glimpses of a train platform below.

ON SCREEN: The red dot representing Ethan is nearly touching Walker’s blue dot.

Of course, all Ethan sees is the bridge.

Ethan looks down, glimpses a figure through the tinted glass. There’s only one way to do this. He leaps, slides down the solar panels feet first and:

Ethan continues running along the roof. *

CLOSE ON: Walker, striding down the platform. *

Tan Rev. (Jan 31 '18) - 1518 90.

The train comes to a stop and a crowd of commuters * disembarks. Walker disappears into them. *

Ethan takes the double staircase at the end of this pedestrian tunnel in two leaps, turning the corner into -

Ethan skids to a stop at a protective railing. He vaults it, landing atop a vending machine, then the ground, then out to:

Ethan emerges from the tube running out from under an overpass, unable to see Walker anywhere. A helicopter roars along the Thames, traveling in the same direction.

With nothing else to go on, Ethan follows it, running as fast as he can.

TRACKING SHOT along the tree-lined pedestrian walkway by the Thames, Ethan navigating PEDESTRIANS, noting the Heli is headed toward the 100M tall chimney tower of the TATE MODERN looms ahead.

The Tate’s drab industrial exterior betray its origins as a mid-20th Century power station. Ethan arrives just in time to see Walker vanish behind the far side of the chimney.

Tan Rev. (Jan 31 '18) - 1518 91.

Ethan goes after him.

Walker comes around a corner, sees a door in the wall marked ‘Service Elevator - Employees Only’. He kicks it open and Enters. PULL BACK TO REVEAL Ethan coming up fast.

Walker steps inside an ancient service elevator, slams the metal grate shut just as Ethan enters. He sees Ethan and calmly hits the button and the elevator ascends.

Ethan rips the folding door open and grabs hold of the bottom of the elevator, dangling from the bottom as it climbs.

The elevator is little more than a steel cage. Ethan and Walker can clearly see one another as it rattles skyward. Ethan is caught.

WALKER * Really? *

Walker draws a pistol, aims it at Ethan. He sighs, then * lowers it. *

WALKER * No. He still has plans for you. * You’re going to turn yourself in, admit your John Lark. Then you’re gonna watch the old world implode from your dark little cell.

Tan Rev. (Jan 31 '18) - 1518 91A.

Walker reaches into his pocket, produces a picture of A WOMAN, taken surreptitiously. She sits at a cafe table, smiling at A MAN with his back to us. He sets on the floor * right above Ethan. *

The woman is Julia. Ethan’s can’t hide the nerve that’s been touched.

Tan Rev. (Jan 31 '18) - 1518 92.

The elevator rattles to a halt. Walker opens the door and exists. Ethan is trapped underneath. He swings, grabs a hold of the shaft wall just as the elevator begins its descent. It narrowly misses sheering Ethan off the wall as it passes.

Ethan quickly climbs up to the elevator door, pries it open and rushes out onto:

A blast of wind. Ethan climbs onto the roof, staggers towards * the heli and comes to a stop. It’s out of reach. *

Walker and Lane sit inside the open side door as it flies * away. Walker gives a little wave, smiling. *

Walker’s POV of Ethan, standing on the chimney, shrinking to almost nothing.

Ethan walks through flooded abandoned underground building * site. *

He finds Luther & Benji - heads over their laptops. *

BENJI * We lost Walker’s signal. He must * have pulled his transponder. *

Ethan shakes his head, undone. *

LUTHER * Ethan- you need to know.. *

ETHAN * I know.. *

Tan Rev. (Jan 31 '18) - 1518 93.

Ethan lays the photo of Julia on the table. Benji, Ethan and * Luther share a grim look. Nothing needs to be said. Ethan * walks away from the table...then turns to his friends. *

LUTHER * Ethan- *

Just then, Ilsa emerges from another room and attacks. Benji * and Luther back away. Ethan parries, tries restrains her. *

ETHAN * Wait, wait! *

LUTHER * Let them work it out. *

He motions to Benji to follow him out of the room. *

Tan Rev. (Jan 31 '18) - 1518 94.

ILSA * You let Lane go. *

ETHAN * I had no choice- *

She breaks free, attacks again. Ethan parries, restrains her. *

ILSA * We should have killed him when we * had the chance. *

She attacks, he parries, restrains her again. *

ETHAN * His people are still out there. * Only he knows who and how many. We * cannot- *

She attacks, climbing up onto him until he restrains her * against the wall, face to face. *

Ilsa stills, lowering her leg. *

ILSA * I’m not doing this to save myself. * He has to be stopped. I don’t care * what happens to me. *

ETHAN * I do. *

And off Ilsa kissing Ethan... *

The familiar schematic of Delbruuk’s nuclear devices, spinning on Luther’s computer screen. Ilsa listens as:

Tan Rev. (Jan 31 '18) - 1518 95.

Benji turns another laptop around to reveal an image of the remote detonator.

BENJI * The countdown is started via remote detonator. It, too, is failsafe. * Meaning once the countdown is * started, it cannot be stopped.

Benji and Luther share a grim look.

Tan Rev. (Jan 31 '18) - 1518 96.

BENJI * We’re working on it... *

ILSA * (realizing) * So this is basically a suicide * mission. *

Luther and Benji share another look. Benji nods and walks * out.

LUTHER * Have a seat...please. Look, in all * the years I’ve known him, Ethan’s been serious about two women. One * was his wife. *

LUTHER * He was. *

ILSA * Was...what happened to her? *

Tan Rev. (Jan 31 '18) - 1518 97.

LUTHER * She was taken. By some people who * wanted to get to Ethan. It’s ok, he * got her back all in one piece and * then he quit the game. And they * were happy for a while. But every * time something bad would happen in * the world, Ethan would think “I * shoulda been there.” And she would * wonder: “who’s watching the world * while Ethan’s watching me?” And * both of them knew deep down that * some day, somehow, something truly * terrible was going to happen. All * because they were together... *

ILSA * Where is she now? *

Ilsa takes this in. *

ILSA * Why are you telling me this? *

LUTHER * We’re in this mess because he * wouldn’t let me die. He’s a good * man. He cares about you, Ilsa. More * than he can admit. That’s one more * worry than he can handle right now. * That’s why you need to walk away. *

Just then, the door opens and Ethan enters. He sees Luther and Ilsa, reads their looks... After a beat.

Tan Rev. (Jan 31 '18) - 1518 97A.

Ethan looks at Luther: “What the fuck?” Luther shrugs. “I tried.” And despite everything he wants, Ethan looks to Ilsa, sighs and says:

They share a long, wordless look, then it’s back to work.

And we cut to.. *

Tan Rev. (Jan 31 '18) - 1518 98.

Luther holds up a familiar looking object, not much bigger * than an inch of pencil lead.

FLASH As Luther extracts the yellow and black transponder from Lane’s neck.

FLASH As Luther inserts a GREEN and black transponder before cauterizing the site.

ILSA * You planned on letting him go? *

ETHAN * Not that way, but yes. I was * counting on it. Now he’ll lead us * to the plutonium. *

ILSA * How do you know that? *

ETHAN * Because his plan to put me in * prison went to hell, now he’s gonna * want me to be there for the end. *

ILSA * When does the transponder act- *

Benji rushes into the room, holding a tablet. They gather.

Tan Rev. (Jan 31 '18) - 1518 99-102.

ETHAN * The CIA’s been infiltrated. I don’t * trust Sloane, I don’t trust anybody * outside this room. We have to do * this alone. *

ILSA * But to where do we go... *

CLOSE ON: Benji’s tablet with a map tracking the signal from * Lane’s transmitter. PUSH IN ON THE SCREEN as the signal’s * trajectory takes is to ASIA, INDIA and finally... *

SCENE 210 TO 214 UNUSED

TITLES: INDIAN CONTROLLED KASHMIR,

SOMEWHERE NEAR THE BORDER OF PAKISTAN

A beat-up Land Rover climbs along a desolate mountain road.

Tan Rev. (Jan 31 '18) - 1518 103.

Ethan drives. Ilsa rides shotgun. Luther and Benji are in back, each with a tablet. Luther tracks Lane. Benji pores over bomb schematics.

CLOSE ON: Luther’s tablet.

Tan Rev. (Jan 31 '18) - 1518 103A.

All eyes turn to Benji.

He leans over the seat, showing Ethan his tablet.

ETHAN * So, one of us has to get the * detonator and remove the key. *

LUTHER * While the rest of us cut the fuses * on both bombs. Easy. *

BENJI * Yeah but... *

ETHAN * But what? *

BENJI * Well, in order for it to work, we * can’t remove the key or cut the * fuses until after...the countdown’s * started. *

ILSA * But...wait, just so I understand, * the only chance we have tosafely * defuse the two bombs, is to let the * countdown start... *

BENJI * ...and then remove the key... *

ILSA * ...okay... *

Tan Rev. (Jan 31 '18) - 1518 104.

A dread silence. *

Benji produces four passports, handing them out to each of them.

Benji holds up his own passport: *

BENJI * I don’t know, do I look Korean? *

Off Luther’s look we cut to:

The team’s vehicle comes to a stop at the open gate. No one steps up to greet them. In fact, no one is evident at all.

The team is instantly unsettled by the silence. Ethan brings the vehicle to a stop. The place is deserted.

A single vehicle is parked up the road - passenger door open.

The team steps out of the car. Ethan sees a command bunker, noticing a power pole beside it. The phone line running from the pole to the bunker has been cut.

Ethan moves toward the bunker. The rest of the team spreads out.

Salmon Rev. (July 30 '17) - 1400 105.

We watch Ethan through a peep-slot as he approaches slowly, looking inside. He pushes the door open and enters.

Luther mounts the steps and finds it empty, save for a blood stain on the ground.

Benji enters, finding a single DEAD SOLDIER

Ilsa approaches the car, hearing the chime of the seatbelt alarm. The car is white, marked with big blue letters HOA.

A stinger is stretched across the road. The front tires of the vehicle are blown. In the front seat are TWO DEAD MEN in white vests, also marked HAO.

Ethan backs away from the bunker, his face saying he’s seen something terrible inside. Benji, Luther and Ilsa are all looking at him from their respective places.

TIME CUT: The team is standing by the car. Benji peers in the driver’s window:

Benji looks at his cell phone.

Tan Rev. (Jan 31 '18) - 1518 106.

Ethan places his hand on the hood of the car.

They all rush for their vehicle.

Lane loads a plutonium core into the open firing chamber of * one of Delbruuk’s devices. *

He presses a button, closing the firing chamber. *

REVEAL: Walker, Lane and THREE GOONS standing around the bomb in a dirt-floored room with small windows.

LANE * Both devices are connected to the detonator.

Lane types the code into the keypad, takes out the firing * key, sets it for 15 minutes and picks up the detonator. *

Tan Rev. (Jan 31 '18) - 1518 107-108.

And off Walker’s bewildered expression, they walk out. *

Salmon Rev. (July 30 '17) - 1400 109.

Ethan and the team arrive, get out of the vehicle. The camp is busy, but quiet. The village below stretches on for a mile down the valley. Walker, Lane, the bombs could be anywhere.

Luther and Benji pull out phones that double as geiger counters and fire them up.

Benjy points to a large mass of shipping containers.

Everyone sticks an earpiece in their ear before heading toward the containers just as something catches Ethan’s eye. He turns and sees a long administration tent on an elevated ridge just above him.

He mounts a set of stairs, stands in the opening of the tent. REVEAL:

The tent is long, narrow, a hive of activity. DOCTORS, NURSES, AID WORKERS. Then a voice:

VOICE Ethan.

He turns and freezes, finding himself face to face with the one person he never expected to see:

JULIA.

The team hears this on their comms, all turning at once, seeing Ethan and Julia together. Ilsa looks to Luther:

Cherry Rev. (Nov 16 '17) - 1908 110.

ON ETHAN AND JULIA.

VOICE Julia.

They both turn as A MAN (30s) approaches. He's handsome, smiling.

Julia nods.

She shakes her head just as the man arrives, extending a hand, understandably curious.

Cherry Rev. (Nov 16 '17) - 1908 111.

Something in her tone is almost hopeful.

Cherry Rev. (Nov 16 '17) - 1908 112.

Just then, Julia spots Benji, Luther and a woman. Staring.

Cherry Rev. (Nov 16 '17) - 1908 113.

MEANWHILE: CLOSE ON Luther, looking at the phone in his hand, the signal spiking. He looks around, spies a communications mast among the shipping containers. He double takes, looks closer at it. To the untrained eye it’s just a cell tower. But to one who has seen the schematic.

Ethan sees Luther turn away, heading toward the mast.

Cherry Rev. (Nov 16 '17) - 1908 114.

They embrace awkwardly before sharing a look that only they understand.

Ethan moves quickly in the direction Luther, Benji and Ilsa went.

CLOSE ON: Julia stops at the edge of the administration tent, watching them go.

227A OMITTED- MOVED TO SC 230A 227A

A house made of split beams with an earthen roof. Walker, Lane and the goons emerge, REVEALING:

They are on the boundary between the village and the lower medical camp.

Across an open field we spy a helipad with two helicopters. Lane points to them.

Cherry Rev. (Nov 16 '17) - 1908 115.

Lane hands Walker the detonator.

Walker nods, shakes Lane’s hand and walks for the helis.

Luther collapses the mast, pulls a pin and lets it lean over. Benji, Ethan and Ilsa arrive just in time to catch it and help ease the heavy thing to the ground.

Luther pulls back a panel and reveals the display.

Ethan runs. Benji and Ilsa follow. Luther is alone.

Walker is at the helis. He puts the failsafe key into the detonator and activates it. Watching the timer tick down, having just pressed the button.

The pilot begins the process of starting the heli. The next heli over also winds to life.

Julia stands at the back of their tent, packing clothes into a bag. She pauses, thinking.

Cherry Rev. (Nov 16 '17) - 1908 115A.

Dropping the clothes down on the bed, she walks quickly out of the tent, past Erik, intent on a destination. Erik watches her go.

Tan Rev. (Jan 31 '18) - 1518 116.

Ethan scans the lower camp and the village beyond.

Then Ethan spies Walker walking to the Helis, their blades turning.

Luther kneels in front of the open box, about to start disarming.

He runs to the nearest HAO vehicle. Benji and Ilsa follow, jumping in, driving off.

Tan Rev. (Jan 31 '18) - 1518 116A.

Ethan roars down a steep pitch, driving toward the Helis. The first one is already airborne, back doors open, Walker clearly visible inside.

Ethan skids to a halt.

ETHAN * It’s alright, I’ll get the * detonator *

ILSA * What, how? *

ETHAN * I’ll figure it out. Just find Lane, * get the other bomb. *

And he runs toward the second heli. Benji and Ilsa watch him go, bailing out of the vehicle.

Cherry Rev. (Nov 16 '17) - 1908 117.

CLOSE ON: Solomon Lane, watching Ethan run to the heli, Benji and Ilsa run toward quarantine.

Ethan runs for the escort heli, but he’s too late. It lifts off. He notices a braided tow cable attached to the heli’s belly, connected to a massive payload. He doesn’t hesitate. He grips the cable with both hands and is yanked skyward.

Ethan rides the cable, the ground rapidly shrinking beneath him.

Benji and Ilsa rush toward the lower tent city, entering.

The place is filled with medical PERSONNEL and gear. Benji and Ilsa nod politely and walk through, scanning.

Luther is slowly undoing screw, already sweating.

Cherry Rev. (Nov 16 '17) - 1908 117A.

Benji and Ilsa split up.

Walker relaxes, the detonator in his lap, ignored.

REVEAL: Ethan climbs the payload rope of the black heli behind Walker’s.

With tremendous effort, Ethan manages to put one hand over the other, finally reaching the heli. He reaches for the skid, tries to put a leg on it.

And falls, backflipping over the payload and out of sight.

The bump catches the attention of the escort PILOT, who turns to look out his window and make sure the payload is secure.

Everything looks A-OK. He returns to his controls.

Ethan has managed to snare the rope mesh underneath the payload with one hand.

Cherry Rev. (Nov 16 '17) - 1908 118.

With an immense effort he brings his other hand up, grabs the mesh, and methodically drags himself to the top of the payload.

239 OMITTEDMOVED TO SC 236B 239

As Luther continues to work on the bomb:

VOICE (O.S.) Luther.

Luther looks up and freezes, REVEAL:

Benji stops, puts a hand to his ear.

Cherry Rev. (Nov 16 '17) - 1908 119.

Julia realizes, steps closer, takes a knee.

Pause.

With an immense effort, Ethan methodically drags himself to the top of the payload, making slow but steady progress along the cable until he arrives at the tow cable anchor on the bottom of the fuselage. He lunges for one of the skids, just managing to grab it.

Tan Rev. (Jan 31 '18) - 1518 120.

Ethan climbs onto skid and edges along it up to the door.

AN ARMED CREWMAN sits by the open door, shocked to see Ethan. The Crewman leaps up, drawing a pistol. Ethan catches him by the wrist. The Crewman steps back, inadvertently pulling him into the aircraft.

Ethan and the Crewman grapple for the gun. It goes off, striking the oblivious pilot in the back. He instantly slumps forward on his control stick. The heli spins and dives.

Ethan and the Crewman stop fighting and look for a way to hold on. The Crewman is tossed out the open door. A beat later, Ethan is flung towards it. The force of the spinning heli causes the door to slam shut just before Ethan would have been ejected.

Ethan muscles his way to the front of the helicopter. He reaches across the pilot, unharnesses him, pulls the door latch, dumps him from the aircraft and takes the controls.

Ethan tries desperately to wrestle control of the helicopter before it plows headfirst into the trees below. He grabs the cyclic, pushing one pedal, then the other.

The helicopter’s spin slows, mildly stabilizing. Walker’s helicopter is up ahead.

Benji stops in his tracks.

BENJI * Ethan, Ethan, where are you? *

Tan Rev. (Jan 31 '18) - 1518 120A.

BENJI * What? You’re in the helicopter... *

LUTHER * Did you say Helicopter? How’d you * get in a helicopter? *

ILSA * He can fly a helicopter? *

ETHAN * (shaking his head) * I can’t get into it, just find the * other bomb? *

BENJI * What? We’re still looking. *

ETHAN * You’ve have to find the other bomb. *

BENJI * But finding the other bomb isn’t * going to matter if we don’t have * the detonator. *

ETHAN * I know I know, I’ll get it. *

Over Ethan looking at Walker’s heli. How the hell IS he going to get it?

ETHAN * I’ll... figure it out. Find the * other bomb, be ready, I won’t let * you down. I won’t let you down. *

BENJI * Ethan? Ethan come in... *

ETHAN * Benji? Ilsa? Luther? Do you copy? * Benji? *

No answer.

Cherry Rev. (Nov 16 '17) - 1908 121-122.

Julia and Luther continue to work on the bomb.

Julie grabs it.

Ilsa searches, listening to this back and forth.

Cherry Rev. (Nov 16 '17) - 1908 122A.

Ethan wrestles with the controls.

The horizon lowers - the heli levels out. He ventures a look skyward.

ETHAN’S POV Above him, Walker’s heli moving steadily up the mountainside.

Ethan’s heli jerks and shudders. He looks down and sees:

The payload at the end of the tow cable is dragging through some trees.

Cherry Rev. (Nov 16 '17) - 1908 123.

Ethan looks over the cyclic, sees what he’s looking for:

A red toggle switch, markedcable release. He poises his thumb over the toggle, ready to hit it... then he looks up at Walker’s heli again, an idea forming.

Ethan takes his hand away from the switch, grabs the cyclic, GUNS the throttle again and pulls back.

Benji continues to look round, and stops in a doorway, picking up a signal.

Benji enters the room, looking around. He goes up to a large box, and starts picking the lock.

Ilsa comes to the end of the quarantine tent and freezes:

Cherry Rev. (Nov 16 '17) - 1908 123A.

REVEAL: Across the way, she sees the houses at the edge of the valley village. Standing on the upper deck of one in particular is Solomon Lane. He stares directly at her.

Lane moves into the house. Ilsa goes after him.

Frustrated, Benji stands, drawing his gun to shoot the lock. He takes a second realizing.

Turning, he spies an gas canister. Putting his gun down, he picks up the canister, and uses it to smash off the lock.

He drops the canister, and opens the box, only to find an X- ray machine.

There are many more boxes.

Ilsa climbs the stairs, pistol in hand. She goes to the spot where she last saw Lane and enters the door.

256 OMITTED- MERGED INTO SC 281 256

Cherry Rev. (Nov 16 '17) - 1908 123B.

A pristine high-mountain lake, skimming the surface.

BEHIND IT, Ethan’s helicopter also clears the range.

Cherry Rev. (Nov 16 '17) - 1908 124.

Ethan stays heavy on the throttle, watching as the GREEN HELI slips below, and eventually behind him.

From above Ethan’s heli, we see the Walker’s below. The payload at the end of Ethan’s tow cable points directly towards it.

Ethan sizes up the speed and distance of his moving target, giving it his best guess before hitting thecable release.

The payload cable detaches and the payload falls towards Walker’s helicopter, still skimming the water below.

Walker’s pilot catches the faintest hint of something above him:

WALKER’S POV: The payload, rocketing straight towards us.

Walker’s hand flies out to his right, MASHING into his pilot’s cyclic and sending the helicopter careening right.

Walker’s heli rolls out of the way, the falling payload narrowly missing and plunging into the lake.

Walker looks back, seeing the plume of water from the lake’s surface behind him. He looks up at Ethan’s black heli above.

Cherry Rev. (Nov 16 '17) - 1908 125.

No answer. Odd. Walker jerks his thumb in the air.Take us up. The pilot nods, gunning the throttle.

Looking down from above Ethan’s chopper, the GREEN HELI is rising up to meet the black.

Ethan sees Walker’s approach, not sure what his next move should be.

Walker comes level with Ethan. The two men make eye contact. Walker cannot believe his eyes.

Ethan watches as Walker reveals that he has a machine gun.

Ethan doesn’t know how to fly, but he knows when to run. He jams the stick forward and dives as Walker fires.

His heli spirals wildly as red-hot tracer rounds streak past.

The BLACK HELI is in a hopeless tumble now, headed for the drop off at the edge of the lake.

Behind it, the GREEN HELI turns and starts after it.

The BLACK HELI gets its skids underneath it just in time to provide that last critical bit of lift, avoid a high speed water landing, clear the drop off by a hair and fall into a DARKENED VALLEY below.

The GREEN HELI isn’t far behind.

Cherry Rev. (Nov 16 '17) - 1908 126.

Luther and Julia, both sweating now.

Managing a nervous laugh.

Julia picks up the necessary tool.

As she does.

Ethan’s heli sweeps down from above, barnstorming a shadowy canyon with steep walls on either side. It narrowly misses a rocky crag as it accelerates, Walker in relentless pursuit.

Cherry Rev. (Nov 16 '17) - 1908 127.

With one hand on the collective, the other on the cyclic, Ethan looks like he’s trying to tame a wild boar. The BLACK HELI bucks and pitches under his feet, sparing him only a moment to look back at -

THE GREEN HELI, rounding the corner behind him, Walker hanging out the side, aiming, opening fire ...

Tracers pepper the rock wall near Ethan’s cockpit.

Ethan recoils, throwing the cyclic to the left, sending him careening in the other direction.

Walker doesn’t have a clean shot.

The pilot shifts his feet on the pedals, feathers the cyclic to the side.

The GREEN HELI, without slowing down, rotates 45 degrees, flying sideways, giving Walker a shot out the rear door.

Tracers rattle the canyon walls, sending chunks of rock crashing into the creek below.

Dark. Uninhabited. Bright sunlights peeks through cracks in the walls, illuminating dust in the air.

Cherry Rev. (Nov 16 '17) - 1908 127A.

Ilsa comes down the stairs into cool darkness, feet resting on the dirt floor. Her eyes immediately see:

Cherry Rev. (Nov 16 '17) - 1908 128.

Through an open doorway into another room, the second bombs rests in the corner, quietly ticking away.

The wall beside her explodes inward. A pair of hands grab her hair and pull. Ilsa tries to shoot behind her. Lane pulls her through the wall, throwing her to the floor and knocking her unconscious.

Benji, surrounded by all the open boxes, hears her radio short out.

Benji grabs the phone and runs out after Ilsa.

Ethan, beads of sweat dripping into his eyes, wrestles the wind-tossed helicopter around a final bend and into -

Cherry Rev. (Nov 16 '17) - 1908 129.

The canyon walls close into a narrow gauntlet of towering pine trees, 40-meter-high green crowns only inches from Ethan’s rotor blades as he swoops past them.

Walker pulls the trigger.

Rounds peppers the tail of Ethan’s heli.

Ethan banks into an ultra narrow canyon. Walker’s heli gives chase. Walker tries to shoot Ethan, has to reload.

Ethan reaches a bowl canyon and climbs.

Walker finds it hard to aim.

Luther and Julia.

Cherry Rev. (Nov 16 '17) - 1908 130.

Benji searching to no avail.

Benji looks the house Ilsa went to, and then, not seeing her, heads to the wrong house.

Ilsa regains consciousness. She is bound to a chair, a rope around her wrists and neck, pulling her head back.

Lane stands over her.

He sits, the bomb ticking away between them...

Both heli’s streak over the smooth top of the glacier.

Walker fires. Ethan’s heli takes another hit, this one critical. Smoke streams from the tail.

Ethan reaches a sheer drop and dives.

Cherry Rev. (Nov 16 '17) - 1908 130aA.

The BLACK HELI clears the crest, and pushes forward over the top. Below him, a dense cloud bank hides whatever may be there. Ethan dives for it anyway, vanishing into the void.

Ethan’s POV diving through dense cloud - the world is pure white, until suddenly it’s green.

Ethan emerges from the clouds headed straight down toward trees, dead ahead. He pulls back on the stick, too late.

The heli levels out, screaming, still descending, crashing through the canopy TO REVEAL:

A PICKUP TRUCK heading straight for him. It swerves off the road, horn blaring. REVEAL:

Ethan is just inches above a paved road, trapped under a canopy of trees, the blades of his heli just inches from branches on either side, no room to maneuver. And no way back up. He has no choice but to move forward.

Walker’s pilot throttles back.

Cherry Rev. (Nov 16 '17) - 1908 130A.

Walker draws a pistol and places it to the pilot’s temple.

The Pilot grimaces and dives after Ethan.

Another car comes at Ethan, swerves off the road.

Cherry Rev. (Nov 16 '17) - 1908 131.

Walker’s GREEN HELI emerges from the cloud bank with room to spare. He scans the valley around him looking for Ethan’s heli. But it’s gone. The pilot presses on.

Looking straight down at Walker’s heli and the trees far below. A glint of sunlight reflects off of something under the canopy. A gap opens in the trees TO REVEAL:

Ethan’s heli skimming UNDER the trees.

Ethan’s hands are shaking, trying to hold the cyclic steady, legs taut above the pedals.

He dares to glance up, seeing Walker’s heli directly above him. A horn blares. Ethan looks forward. REVEAL:

A motorcycle headed right at him. It, too, must veer off the road.

Ethan glances up again, looking for a way out.Another horn blares, this one louder. REVEAL:

A tractor trailer is coming right for him, locking up it’s brakes and jack-knifing across the full width of the road.

Cherry Rev. (Nov 16 '17) - 1908 132.

Ethan is going to crash. He has no choice - he has to hit the throttle, and ascend.

The BLACK HELI explodes through the canopy, shredding the treetops and ascending, falling in behind Walker’s heli.

Walker looks back, realizes he is now the one being chased. He brings his weapon around, spraying tracers in a wide arc behind him.

Ethan banks right-

And across the tail of Walker’s heli. Walker changes sides, aims, Ethan swings back the other way, using Walker’s own tail for cover.

Walker changes sides again, fires. Again, Ethan ducks behind Walker’s tail.

The Pilot angles the heli at 45 degrees again.

Ethan and Walker make eye contact as Walker raises his weapon and:

CLICK

Out of ammo.

Cherry Rev. (Nov 16 '17) - 1908 133.

Ethan sees Walker yanking the bolt on his weapon, realizes what’s happening. He throttles and dives.

Walker reaches for his gear bag and a lone box of ammo.

The pilot sees Ethan diving directly for them and takes evasive action.

Walker is thrown nearly out the door. He grabs on the steady himself, losing the ammo box. He watches it fall out the door. No more ammo.

The odds a bit more even now.

Ethan presses his attack -ramming speed.

The two helicopters narrowly miss each other, as the GREEN HELI, followed perilously closely by the BLACK HELI, rises into the air, roaring around a mountainous ridge.

Luther and Julia hovering over the last wire, watching the timer tick away, ever closer to zero.

Tan Rev. (Jan 31 '18) - 1518 133A.

When she hesitates.

Julia stands, backs away, then runs.

Ethan chases Walker across an icy expanse. Walker tries to shoot at him but Ethan ducks repeatedly behind his tail until Walker is out of ammo.

Ilsa and Lane watch as the bomb’s timer ticks away.

Ilsa blinks, those words coming back to haunt her.

Lane looks at the bombs ticking clock. Ilsa takes the opportunity to scan the room with a glance. She spies a sharp object - a weapon. But how to get it? He looks back, sensing:

Tan Rev. (Jan 31 '18) - 1518 133B.

Lane swivels around Ilsa chair. *

LANE * You don’t want to see this. *

Ilsa tries to scream a warning to Benji through the gag while * Lane vanishes into the darkness behind her. *

Julia enters a tent to find Erik finishing up the packing. He sees immediately that something is terribly wrong.

She moves to him, embrace him, her eyes shut tight. She opens them.

A massive slab of ice, sloping upwards over an expansive frozen plain. The two helicopters barrel across it in a twisted dance.

Benji enters the basement, sees Ilsa, rushes to her.

Lane snares Benji with a rope around his neck.

Ilsa struggles with her restraints, glances at the timer on the bomb.

Ethan gains on Walker. *

Tan Rev. (Jan 31 '18) - 1518 133C.

Benji fights Lane. *

Ilsa struggles with her restraints, but she can’t get her hands free. *

Lane stomps the rope around Benji’s neck, snapping him down * and lynches him just as Ilsa throws the chair back and breaks * it as a last resort. Painful.

Lane hears the noise and turns to meet her attack. Ilsa * charges him but he deflects and they both fall. Ilsa sees * Benji struggling and kicks a box under his feet. *

The bomb is ticking away.

Cherry Rev. (Nov 16 '17) - 1908 134.

Ethan won’t let up in his relentless pursuit.

CLOSE ON: The smoke coming from the heli increases.

Ilsa tries a leg move on Lane, is thwarted and thrown. She grabs a sharp object, stabs Lane and throws it to Benji.

Benji tries to cut the rope around his neck.

Ilsa and Lane continue to fight as Benji cuts. Benji kicks Lane in the back into Ilsa’s attack.

This knocks Benji off the box. He drops the sharp object. He’s choking.

The clock is ticking.

Walker looks back, sees Ethan, shouts to the Pilot.

Alarms are blaring. The heli is going to die.

Lane drops Ilsa. Ilsa attacks Lane, jumps him and in a choke maneuver as Benji turns blue.

Cherry Rev. (Nov 16 '17) - 1908 134A.

She cannot let Lane go to save Benji. Lane knows it, struggles to remain conscious. Finally:

Lane blacks out. Ilsa leaps up and cut Benji down. He gasps for air. But there is no time to waste.

Benji scrambles for the device. Ilsa pulls down the rope

The BLACK HELI is right on top of them. The pilot breaks left, then down, over a steep drop-off -

- into an gorge of ice, both helicopters plunging over the edge in a nose first dive.

Every warning light possible is flashing now. Ethan aims the nose of his spiraling craft towards -

WALKER’S POV of Ethan’s helicopter, headed straight for his tail.

Green Rev. (June 11, 17) 135.

Ethan rams into the back of the GREEN HELI - the tail rotor shattering Ethan’s canopy.

The two helicopters spiral apart, both hopelessly damaged and completely out-of-control, MASHING themselves against opposite ends of a huge ice sink rounding out the bottom of the gorge with a pair of sickening CRUNCHES, Walker’s headfirst, Ethan sideways.

Walker’s pilot takes the full brunt of the impact, while Walker, in the back, braces.

Ethan’s heli comes to a stop on the edge of a precipice. He is stunned, trying to focus. He hears the crunch of metal sliding on ice, looks around. Then he sees it.

Walker’s heli is rolling towards him. Ethan goes to unfasten his harness, but he’s too late.

IMPACT

The decimated helicopters SLAM into each other with an ear- splitting CRASH, metalwork intertwining, Walker’s helicopter flipping over Ethan’s and falling into the crevasse, dragging Ethan’s with it.

Ethan and Walker now find themselves hanging in the middle of a smoking, twisted Escher painting - difficult to tell which way is up. Ethan looks directly above his head and sees -

Walker, sprawled out on his back in the rear of the helicopter below him.

Ethan PULLS THE BUCKLE, releasing himself from the seat, and launching downwards, straight at Walker.

Tan Rev. (Jan 31 '18) - 1518 136.

Ethan smashes through Walker’s windscreen, body slamming Walker. They grapple in the battered remains of the heli until their fighting causes the whole twisted structure of the GREEN HELI to rip away, falling through the crevasse towards:

What remains of the helicopter smashes onto a rocky shelf, spilling the two men out onto the frozen surface, dragging the cable from its winch as it rolls away.

The wreckage tumbles over the edge. The cable snags an outcropping and pays out like fishing line. The heli jerks to a stop fifty feet below, slamming into the cliff face and coming to a stop, a thousand feet above a forbidding glacier.

Ethan lies face first on the ice

Lying twenty feet away, Walker staggers to his feet in a * murderous rage, eyes only on Ethan - *

Ethan - slowly, painfully - drags himself up, and turns. *

The DETONATOR lies just past Walker. Walker readies himself. *

Ethan charges down the slope, driving for the detonator. * Walker gets him into a headlock and they shove back and * forth, Ethan reaching desperately. *

In the struggle, Walker heels the detonator away. It skids * further away, towards the edge of the cliff...coming to a * stop just on the lip. *

Ethan can’t get past and punches and elbows Walker to break * free. Walker grabs him back as he reaches for it - * tantalizingly close. Back to back Walker gets Ethan into a * hold and flips him away from the edge. *

Ethan roles back, barely avoiding Walker’s follow up kick. He * recovers as Walker charges in, and they punch and block back * and forth, until they lose their footing and fall away from * each other. *

Ethan gets up again and charges, putting Walker on the back * foot, getting him into an arm lock. Walker breaks free and * punches Ethan to the ground. He puts an arm around Ethan’s * throat, and pulls him up into a choke hold. *

Tan Rev. (Jan 31 '18) - 1518 137.

Lane is bound tightly with the rope he used to try and hang Benji. He comes to and sees Ilsa and Benji digging through * the bomb’s wires. He smiles.

They ignore him.

Benji hands Ilsa a clipper, takes one for himself

Cherry Rev. (Nov 16 '17) - 1908 137A.

Tan Rev. (Jan 31 '18) - 1518 138.

Luther is waiting, watching the timer.

Walker has Ethan facing the edge, arm around his neck, * choking him. In desperation, Ethan jumps up and kicks out, * using his weight and momentum to reverse the hold, flipping * Walker over him. *

They both go down, Walker heading over the cliff, Ethan * desperately grabbing for the cable, but Walker gets a hand on * his jacket and pulls Ethan over with him, leaving the * detonator just on the edge. *

Ethan manages to grab the winch cable, but his gloved hands * struggle to grip it. He slides and finally stops. *

REVEAL: Ethan is dangling over a 1000 foot drop into rocks * and water, Walker hanging on below him. *

The hook slips, sliding on the rock, and they drop another 20 * feet down the cliff face. *

They come to a stop, Ethan grasping the cable, Walker holding * onto his ankle. *

Ethan struggles, trying to get Walker off, and kicks him in * the face. Two, three times. Walker releases, falls further. * He grabs the rope, coming to a stop 15 feet below Ethan. *

Walker shakes it off, glancing down below him. He looks back * and starts to climbs the cable toward Ethan, determined. *

Luther holds his pliers over the wire, waiting, the timer running out.

Tan Rev. (Jan 31 '18) - 1518 139.

Benji and Ilsa have torn into the bomb.

CLOSE ON: Ilsa removes the plate. The wire is revealed.

CLOSE ON: The timer. One minute left. Ugly pause.

No answer.

Ethan climbs up the cable a short way then jumps to the rock * face, clinging for dear life. The face is at a slight * negative angle, making it even harder to hold on. *

Walker continues to climb the cable, gaining, but its too * slow. He jumps off, grabs the rock. Keeps going, getting * within arms reach of Ethan. *

Ethan makes it to a small ledge and pulls himself up onto it. * He turns to climb further, but rocks start tumbling and he * swings back. *

The hook slips and slides over. Ethan presses his back to the * rock as the cable - and the hook on the end - whiz past. *

Walker looks up in time to see the hook coming right for him.

Tan Rev. (Jan 31 '18) - 1518 140.

WALKER’S POV: The hook slams right into the camera. OVER * ETHAN looking down as the hook hits Walker in the face. He * and the wreckage of the heli plummet down to the valley * below.

Battered and in pain, Ethan looks up again. The remote * teeters in the breeze. This is not over. He continues the * climb.

The clock ticks.

Time is running out.

Ethan is still climbing, slowly, the remote seems a mile * away. He’ll never make it.

CLOSE ON THE CLOCK. WE’VE REACHED THE LAST FIFTEEN SECONDS.

Benji looks to Ilsa. Beat.

Tan Rev. (Jan 31 '18) - 1518 140A.

Tan Rev. (Jan 31 '18) - 1518 141.

BENJI/LUTHER NOW.

They cut and:

SILENCE AS A BRIGHT WHITE FLASH FILLS THE SCREEN

SUPER CLOSE ON: Ethan’s eyes, watering as they adjust to the superheated nuclear heart of a fire as bright as the sun.

And that’s because it is the sun. REVEAL:

Ethan, dangling by one hand from the edge of Pulpit Rock, the * remote dangling in the other, the detonator key in his teeth. *

He looks toward the horizon, waiting for a blast that will never come. He exhales a trembling breath, spits the key out * and lets the remote fall. With the last shred of strength he * has in him, he hauls himself up.

The bomb opens and it’s plutonium core drops into Benji’s hands like an egg. He holds it up to Ilsa.

She turns to Lane and smiles. He does not smile back.

Luther’s bomb opens. The core drops onto the gravel at his knees. He exhales and smiles.

Cherry Rev. (Nov 16 '17) - 1908 141A.

We find Ethan sitting on the edge of the impossibly sheer precipice. He is alone, battered, broken, cold, stranded.

And he is alive.

For the first time in a long time, since as long as he can remember, there is nothing more to be done.

He inhales, exhales, and takes in the view around him.

Then passes out.

A sound like a flapping wings through muffled ears. Images stutter from out of the darkness.

A HELICOPTER hovers directly above us against the bright sky.

Cherry Rev. (Nov 16 '17) - 1908 142.

Ethan lies in a stretcher, the ground speeding past beneath him, wind in his hair.

ETHAN’S POV as he is carried on a stretcher. Faces looks down at him:

Ilsa, Luther, Benji...

ETHAN’S POV as his eyes find focus. He’s in a tent. Julia steps into frame, looking down at him.

CLOSE ON Ethan. He blinks, comes to. He’s badly bruised, beat up. He goes to sit up, winces from the pain. Erik appears.

Ethan lays back.

Alt version: Only Sloane, no White Widow. Change all plural friends to friend.

Ethan looks to the door and sees

Cherry Rev. (Nov 16 '17) - 1908 143.

Sloane and The Widow. TWO INDIAN SOLDIERS guard the door.

Ethan doesn’t have an answer.

Sloane and the Widow leave. Julia nods to Erik and he goes as well. Ethan’s eyes well up.

She takes his hand and squeezes. After a beat.

Cherry Rev. (Nov 16 '17) - 1908 143A.

And that says it all.

Cherry Rev. (Nov 16 '17) - 1908 144.

She nods.

And Ethan nods, exhales a breath he’s been holding for years.

Behind the, them team enter, filling the doorway.

Julia bends down, kisses Ethan’s forehead.

Ilsa stands awkwardly, and looks away as Julia & Ethan embrace.

After a long moment, Julia turns around to head out. She stops when she sees the team. She looks at Ilsa and then they both look to Ethan. Ilsa leans in, whispers something in Julia’s ear. They have a moment.

Julia walks out past Benji and Luther, who stay in the doorway as Ilsa comes up to the bed. She reaches down, touching his chest. Ethan winces.

Ethan laughs then winces again.

Benji nods, they’re okay.

Tan Rev. (Jan 31 '18) - 1518 145.

out one of several bridges spanning the Thames where we find:

Ethan, alone, walking to the center of the otherwise deserted bridge. A car approaches, passes, comes to stop. THREE FIGURES climb out: TWO MEN who can only be CIA and ERIKA SLOANE. She walks to Ethan. He looks at the CIA Men.

ETHAN * You know. *

Beat. *

SLOANE * You win. *

Sloane sighs, nods to the two men by the car. They open the * trunk. REVEAL:

SOLOMON LANE wearing a simple suit, handcuffs. There’s something hollow in his eyes - half there. He’s been sedated. Even in this condition he stares daggers at Ethan. *

Tan Rev. (Jan 31 '18) - 1518 146.

Another car approaches from the opposite direction. It too passes, stopping so that the two cars are about ten feet apart, back to back. TWO SOLDIERS in plain clothes climb out * of the front.

The White Widow and Zola emerge from the back. *

A soldier opens the Widow’s trunk as Sloane’s men walk Lane * toward it. Lane lunges toward Ethan, held back by the * soldiers. *

He’s stuffed in the trunk of the Widow’s car and sealed in. *

She and her men climb in the car and drive away.

ETHAN * And what do you get out of it? *

Sloane nods and Ethan turns. A figure approaches on foot along the bridge: Ilsa. Ethan looks at Sloane.

Tan Rev. (Jan 31 '18) - 1518 147.

And a moment later, she is gone, leaving Ilsa and Ethan alone on the bridge. After a beat.

ETHAN * You didn’t have to come back. *

ILSA * I wanted to. *

Beat. *

And off Ethan’s look we cut to: *

CREDITS

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