Ballerina (2025) | Transcript

Ballerina (2025)
Genre: Action, Thriller
Director: Len Wiseman
Writers: Shay Hatten, Derek Kolstad
Stars: Ana de Armas, Keanu Reeves, Ian McShane

Synopsis: Eve Macarro is a young girl dreaming of becoming a ballerina. She lives with her father in a remote area, trying to maintain a semblance of normalcy after the death of her mother and the presumed disappearance of her sister. One night, a group of men break into their home intending to abduct her…

* * *

Franchises never really end, and so Ballerina arrives: a spin-off from the John Wick saga (with Wick himself making an appearance) that tries to freshen up the idea of stylized action, verging on video art installations. Unfortunately, despite Ana de Armas’s efforts, the screenplay gets lost in an overly constructed narrative, and Len Wiseman’s direction lacks the visionary punch needed to hold the viewer’s gaze.

It’s a real shame to see Ana de Armas’s career start to drift aimlessly away from the cinematic spotlight. Just three years ago, with Blonde by Andrew Dominik and Deep Water by Adrian Lyne released in close succession, it looked like the stunning Cuban actress was on the verge of hitting the Hollywood A-list. But both the sprawling horror-biopic about Marilyn Monroe and the clever, sharp reworking of Patricia Highsmith’s novel received a cold, almost prejudiced critical response. And so, despite de Armas’s clear talent in both films—high points in a climb through leading roles (from Knock Knock to Blade Runner 2049, through the daringly political Wasp Network by Olivier Assayas, and of course Knives Out by Rian Johnson)—her rise was quickly followed by a downturn, accelerated by poor choices like Dexter Fletcher’s Ghosted and Ron Howard’s Eden. Now comes Ballerina, the first spin-off in the John Wick universe, set between the third and fourth chapters of the Keanu Reeves-led action series.

Even a look at the film’s production history—begun eight years ago—reveals how unstable the project has been. On paper, adding a strong female character to an otherwise male-dominated universe shouldn’t be too tricky. The problem is the total lack of psychological depth that had been carefully layered into the story of Wick himself, a relentless assassin modeled as a Western-style rōnin.

Throughout the first, rather exhausting part of Ballerina, Shay Hatten’s screenplay (he also worked on the last two John Wick films) focuses on fleshing out the character of Eve Macarro, who has lost her mother, father, and even her sister, and now ends up in New York under the wing—or at the mercy—of Ruska Roma. But the story sticks too closely to genre clichés, offering up a predictable backstory and a run-of-the-mill revenge plot. John Wick appears as a sort of moral guide, urging Eve not to be consumed by a world of violence. But interest in what’s happening on screen fades quickly.

Wiseman’s direction doesn’t help. For much of the film, he holds back without clear reason. Only in the final section, when the film veers into somewhat more unusual territory compared to the original tetralogy, does Ballerina begin to show signs of its own identity. Two standout ideas emerge: a village in Austria entirely populated by ruthless killers—men, women, young, old, regardless of their role—and the climactic showdown. Here, the plot recedes to make room for a compressed, previously stifled visual energy. Suddenly, kinetic and cinematic power take over, with fight scenes bordering on slapstick and a flamethrower duel that jolts the audience into enjoyment.

It’s only through choreography—true, violent, stylized choreography—that a film like Ballerina can justify itself. It’s striking, then, that this only becomes apparent at the very end, despite the premise from the start equating dance with deadly movement. This connection is made abundantly—perhaps too abundantly—clear in a final scene that leans heavily on repetition. In these last sequences, Ballerina finally finds the independent voice it had been searching for since the beginning, when Eve’s story still felt like a faint echo of Wick’s earlier path. It’s just a pity it happens so late, by which point even the most patient viewer might have sunk deep into their seat.

* * *

(MUSIC BOX PLAYING TCHAIKOVSKY’S SWAN LAKE)

Oh, that’s beautiful.

It was terrible. I can’t do it.

Hmm, not yet.

But you will.

You’re growing up so fast.

You say that all the time.

Yeah, it’s because you are.

You look so much like your sister.

I wish I could remember her.

If I come back and you’re a foot taller… gonna ground you.

(MUSIC BOX PLAYING TCHAIKOVSKY’S SWAN LAKE)

(HANDLE SQUEAKS)

(OMINOUS MUSIC PLAYING)

(ARROW WHOOSHES)

(GLASS SHATTERING)

(BOTH GRUNTING)

(LOUD THUD)

(MUTED GRUNTS)

(YELLS, GROANS)

(MAN SHOUTING INDISTINCTLY IN GERMAN)

Shh.

(WHISPERS) Remember what we learned, okay?

Eve, come with me.

Stay quiet.

(MEN SPEAKING GERMAN)

(BLADE SWISHES)

(GROANS)

(BONE CRUNCHING)

(BONE CRUNCHING)

(GROANS)

(BONE CRUNCHING)

(GROANS)

(BOTH GRUNTING)

(GROANS)

(IN ENGLISH) We opened our hearts to you.

We embraced you.

We let you, an outsider, marry a daughter of our clan.

And how did you repay this kindness?

You took what was not rightfully yours.

And now, your wife is dead, to atone for your transgressions.

Did you think that you could just walk away?

Hmm?

Where is she?

Where is Eve?

Charming.

(GRUNTS)

(COUGHS)

You’re a fucking coward.

You’re trying to convince yourself that fate absolves you of your actions.

There are no choices.

Yeah.

Does that make what you do any easier?

It makes what I do… necessary.

One bullet… well placed… can be a magical thing.

It’s neither good… nor evil.

But how a man uses it reveals his true character.

You wanted choices.

Well, here they are.

You kill yourself, and your daughter lives.

Or kill me, and you and your daughter die together.

Choice is yours.

You’ve got your choice.

Now, do you have the balls to do it?

Papa!

(SHOUTS IN GERMAN)

(GRUNTS)

(BONE CRUNCHING)

(PANTING)

(GROANS)

(BOTH GRUNTING)

(KNIFE SWISHES)

(GRUNTS)

(STRAINING)

(GUNSHOT)

(MUFFLED) Hey, baby, look at me.

(SNIFFLES)

It’s okay.

(MAN SHOUTING IN GERMAN)

(IN ENGLISH) Come on.

(GUNSHOTS)

(GUNS FIRING)

(GROANS)

(EVE GASPS)

Come on.

(GROANING)

Papa.

I’m sorry, honey.

I never wanted this for you.

Papa.

I’m sorry.

Papa!

Papa…

(SIRENS WAILING IN DISTANCE)

(MUSIC BOX PLAYING TCHAIKOVSKY’S SWAN LAKE)

WINSTON: Tchaikovsky. How lovely.

At a time of loss, there’s nothing easier than pity and nothing more difficult than the truth, as there are no easy answers for grief.

I’d like to be honest with you.

Would that be all right?

(MUSIC BOX STOPS)

Your father was a good man.

He wanted a free and open life for you.

Not like the one that he had to endure.

But we all live with the decisions we make.

Now he’s been taken from you.

I can do nothing about that.

But what I can do… is offer to take you to his family.

They will look after you and, hopefully… one day become your family, too.

(SUSPENSEFUL MUSIC PLAYING)

(DOOR OPENING)

The Director will see you now.

(DOOR CLOSES)

Does she know who her parents really were?

Come here. Sit.

You dance, yes?

Mmmhmm.

I run this theater, and I am always looking for new recruits.

I know you.

I know your pain.

What boils inside of you under the surface.

I can give you somewhere to put that anger.

Those men took your past.

Don’t let them steal your future.

(DOOR OPENS)

Well?

She says my path is now here with the Ruska Roma.

(SIGHS)

Very well…

Eve.

Thank you, Mr. Winston.

You are most welcome, Miss MaCarro.

And know that I will always be at your service.

(DOOR CLOSES)

My name is Nogi.

Did you know my father?

I did.

Your father was Ruska Roma, like me.

Like you will be, too.

He was what we call Kikimora.

What is that?

In Slavic mythology, the Kikimora is a kind of spirit to those with darkness in their hearts.

She can be vengeful and destructive.

Like the boogeyman?

Yes.

But to the innocent… she can be a protector.

It is… two sides… to the one coin.

To kill…

To save.

But, ultimately… it is up to you to choose.

(BREATHING HEAVILY)

(ROUSING MUSIC PLAYING)

(GRUNTS)

(THE DIRECTOR IN RUSSIAN)

(GROANS)

(IN ENGLISH) Are you finished?

(SIGHS) No.

Good.

That will be all for today.

Tend to your wounds before you get sepsis, and we have to cut off your feet.

Tell Tatiana she’s next.

(WOMAN SPEAKING RUSSIAN)

(IN ENGLISH) “Her Majesty” says you’re up.

That woman hates me.

She hates everybody.

TATIANA: Christ, Eve.

Why do you push yourself like this?

I want to be ready.

Ready for what?

You know what’s funny?

When I was a little girl, I actually did want to be a real ballerina.

You are a real ballerina.

You’re the best dancer here.

That other shit, you’ll learn with training.

(BOTH GRUNTING)

INSTRUCTOR: Fire!

One bullet, well placed, can change the world.

The Kikimora’s purpose is to stop that bullet.

INSTRUCTOR: Time’s up!

To become Kikimora you must become the assassin.

You must learn to move like him and think like him.

For this next exercise, we will be using simulated rounds.

What are the rules?

Protect your ward at all costs.

That is the only rule.

(GROANS)

(GRUNTS)

(GROANS)

NOGI: Why did you fail?

He’s too strong.

NOGI: Do you really believe

that strength has anything to do

with whether you win or lose?

You will always be weaker.

You will always be smaller and at a disadvantage.

He is beating you because you are allowing him to define the terms of the contest.

You want to win?

Change the terms.

Improvise, adapt, cheat.

Lean into your strengths, not his.

Fight like a girl.

Begin.

(ELECTRIFYING MUSIC PLAYING)

(GROANS)

Good.

(MAN GROANING)

Where is she?

Tatiana’s things are gone. Did something happen to her?

Sit.

Tatiana did not have the qualities required to continue with the Ruska Roma.

What are you talking about?

She lacked the killer instinct I see in you.

Your childhood was taken.

This pain is what drives you.

Tatiana… there is sadness, not pain.

There’s a difference.

You two are now on different paths.

Then why are you holding me back?

I’m ready.

Perhaps you are right.

It is time.

This is the final stage of your training.

(WOMAN GRUNTING)

(CHUCKLING)

Oh, my God.

Are you fucking kidding me?

I’m a fucking test?

How the mighty have fallen.

Do you know who I am?

No.

I’m you… in ten fucking years.

(DEVICE CLICKS)

(BREATHING DEEPLY)

(MUSIC BOX PLAYING TCHAIKOVSKY’S SWAN LAKE)

(THUNDER RUMBLING)

(WOMEN MURMURING INDISTINCTLY)

THE DIRECTOR: Somehow you managed to get out, but here you are back where you began.

All of this for what?

(SPEAKING RUSSIAN)

(INSTRUCTOR SPEAKING INDISTINCTLY IN DISTANCE)

THE DIRECTOR: With this, Jardani, your ticket is torn.

(SIZZLES)

(JOHN GRUNTING)

THE DIRECTOR: You can never come home again.

Take him to the lifeboat.

Do svidanya.

Das vedanya.

EVE: You’re him.

The one they call the Baba Yaga.

The students all talk about you.

How do I get outta here?

The front door is unlocked.

No. I mean…

how do I start doing what you do?

Looks like you already have.

That door will lock sooner than you think.

You can still leave.

You still have a choice.

Why didn’t you leave?

I’m working on it.

NOGI: The Director feels you are ready for your first contract.

You will protect this woman.

Katla Park.

Her father is our primary charge.

He is concerned that his competitors may try to get to him by ransoming his daughter.

Your job is to make sure they don’t get the chance.

To infiltrate past security, you’ll be using a modified 3D printed Glock 43X with reinforced carbon fiber barrel, and polymer rounds.

Rubber bullets?

Problem?

No.

You’ll find Miss Park at Minus Eleven.

(ELECTRONIC DANCE MUSIC PLAYING)

(ELECTRONIC DANCE MUSIC CONTINUES)

(LAUGHTER)

(CROWD MURMURS AND CHEERS)

In position.

NOGI: Copy.

I have the principal in sight.

NOGI: Hold your position.

She can dance.

I got movement at ten o’clock.

NOGI: A threat?

Stand by.

Hey! (GRUNTS)

Definitely a threat.

You should get out of the way.

I can’t.

I understand.

(THRILLING MUSIC PLAYING)

(ALL GRUNTING)

(LAUGHS)

(SILENCED GUNSHOTS)

(CROWD SCREAMS)

(GROANS)

(GROANS)

(BONES SHATTER)

(GRUNTING)

Hey!

(GROANS)

(YELPS)

(GRUNTS)

No, no, no.

I don’t want anyone to touch me right now.

Hey, hey. It’s okay.

You’re safe now, it’s fine.

Let’s get you out of here.

(TATTOO MACHINE WHIRRING)

(BREATHING HEAVILY)

(GROANS SOFTLY)

(CAMERA PHONE CLICKS)

(PHONE CHIMES)

(ELECTRONIC ROCK MUSIC PLAYING)

(ELEVATOR DOOR DINGING)

MAN: Hey, what the hell is goin’ on up there?

Somebody respond.

Were you stuck in the elevator?

(ELECTRONIC DANCE MUSIC PLAYING)

Yes. It was very scary.

(CARS HONK)

(TIRES SCREECH)

(GRUNTING)

(GROANS)

(YELPS)

(GROANS)

(BONES SNAP)

(SCREAMS)

(BREATHING HEAVILY)

(GRUNTS)

(MAN WHEEZES)

(BLOOD SQUELCHES)

Miss, something’s leaking from your bag.

Yes. Thank you.

No problem.

Is there a reason you’ve brought me a severed hand?

Look at the scar.

I’ve seen this before.

That’s the same scar as the man who murdered my father.

It was a mark from a tribe.

You knew who they were.

How dare you?

I have been protecting you.

Why didn’t you tell me who they were?

My child, you do not understand.

People with that mark, they have no rules, no consequence, no mercy.

They do not interfere with our business, and we do not interfere with theirs.

This is a pact as old as the Ruska Roma itself.

All these rules, who are they serving?

When you deal in blood, there must be rules… or nothing survives.

(GROANS)

Why would a tribe try to kidnap a child?

I am warning you, you will not find them, and hunting for them will only bring chaos.

I’m ordering you, do not pursue this.

Do I make myself clear?

(IN RUSSIAN)

(IN ENGLISH) Please… take your hand.

(SUSPENSEFUL ROCK MUSIC PLAYING)

Welcome to the Continental.

Checking in?

No. I’d like to speak with the manager.

Is he expecting you?

No, he’s not.

I see.

And what, may I ask, is your name?

Eve.

Eve MaCarro.

Let me see what I can do.

(SOFT CLASSICAL MUSIC PLAYING)

Eve MaCarro of the Ruska Roma.

What a pleasure to see you again.

Please.

So, what brings you here?

I’m looking for the tribe that killed my father.

And if I suggested you didn’t?

I would smile and nod and then ignore you.

Ah.

The Director has already warned me about them and the rules.

So, I can appreciate your reluctance.

That’s very kind of you, but a few words of advice, if I may, Miss MaCarro.

Whatever information you think these people have, it might not be in your best interests to know it.

I still need to know.

“Needing to know” is what got us banished from the Garden of Eden.

Are you prepared to be cast out again, Eve?

Please.

Very well.

I’ll give you this. It’s not a tribe, it’s a cult.

That kills not just for business, but for sport.

While we live among socalled polite society, they do not.

Where can I find them?

The precise location is unknown.

But we do monitor them when they stay at our hotels.

They have access to the Continentals?

Oh, yes. Better to have them inside the tent, pissing out, than outside, pissing in.

And, yes, there is a man who bears that mark staying at one of our hotels at the present… in Prague, I believe.

On what business?

Shall we?

(PHONE RINGING)

Hello, my dear.

Muriel, be a darling and bring up the latest Blackwire submissions on a Daniel Pine.

Daniel Pine…

Contract submitted three days ago.

His bounty is set at two million.

He’s currently holed up inside the Prague Continental… room 315.

No outside calls have been logged, and he’s purchased a shitload of room service.

Mostly ice cream.

Sweet tooth, hmm?

Hard copy, please.

(TYPING)

(WHIRRING)

(WHOOSHES)

CHARON: Sir…

there is a call for you.

From The Director.

(IN SPANISH)

(COIN CLINKS)

Checking in.

Certainly.

And how long will you be staying with us?

Just the night.

Room 314, please.

MAN ON RADIO: Still no movement from Pine.

What are my orders?

LENA: Keep your eyes on Pine.

We may have a taker.

(DOOR BEEPS)

(WINDOW OPENS)

MAN: You’re right.

We have a taker.

A woman, young, dark hair.

She’s in.

(SHOWER RUNNING)

Who are you?

Shit.

You’re not supposed to say that word.

Right. Sorry.

What’s your name?

Ella.

I’m Eve.

You’re not here to hurt my daddy, are you?

Your father?

(SHOTGUN RACKS)

Ella, come here.

Everything’s gonna be all right.

Why don’t you come stand behind me, sweetheart?

What do you want?

When I was a child, men with your mark murdered my father.

I just want to know where to find them.

You have no idea what you just walked into, do you?

No business being conducted.

They’re just talking.

(PHONE BEEPS)

(LINE RINGING)

WOMAN: Contract services.

How can I help you?

Account 8651.

Name on contract?

Daniel Pine.

Double the contract.

(DINGS)

(PHONE CHIMES)

(PHONE 1 BUZZES)

(PHONE 2 CHIMES)

(PHONE 3 BUZZING)

(PHONE BUZZES)

Fuck.

You just made everything a whole lot worse.

Those people that you’re looking for?

They’re surrounding this hotel right now, hoping somebody breaks the rules and takes the bait.

I think they were hoping that somebody was gonna be you.

(PHONE BUZZES)

Now, you’ve just made ’em antsy.

Why would they be at the hotel?

They just want me dead to get to her.

(GUNS FIRING)

Baby, stay down!

(BOTH GRUNTING)

(SPEAKS GERMAN)

(IN ENGLISH) Ella, come on.

Come on.

He’s moving. Hallway.

(GRUNTING)

(YELLS)

Damn it!

Come on.

(FIRE ALARM CHIMING)

(ELEVATOR DINGS)

Back, back, back the other way. Go!

Wait, wait. Get behind me.

Come on.

(BOTH GRUNT)

PINE: Ella, honey…

let’s go.

EVE: Why do they want her?

It’s a cult.

No one gets out.

Ever.

You gotta help me get Ella outta here.

She deserves a better life than this.

I can’t. That’s not why I’m here.

You’re Kikimora.

Isn’t that what you do?

Help me protect her.

I’ll tell you where to find them.

Please?

ELLA: Daddy… are we going to die?

PINE: No.

No, baby.

No, not today.

You can trust her.

(CAR HORN BEEPS)

(TIRES SCREECHING)

Hi.

Huh?

(SILENCED GUNSHOT)

EVE: It’s okay.

PINE: Hey.

How many left?

Two. Maybe ten.

(LEVEL CROSSING BELL DINGING)

Oh, fuck it.

(PEOPLE SCREAMING)

(TRAIN HORN BLARES)

(GUNSHOT)

(SOUND MUFFLES AND DISTORTS)

Daddy!

(ELLA SCREAMS)

(FLIES BUZZING)

(PHONE RINGING)

Yes?

LENA: We have the girl.

Good.

Sir, there was someone else there.

Who?

A woman.

For the contract?

I don’t think so.

I think she might have been after Ella.

Really?

Do we, uh…

Do we know who she is?

Not yet.

I left her for Continental security.

They started this.

That’s bullshit.

I did not break any rules.

You broke my fuckin’ jaw.

You’re still using it.

I didn’t kill anyone.

You’re going to need to check out.

Understood.

And what will it be today, madam?

(COIN CLINKING)

I’d like to go hunting.

Have you ever done business with these people?

I have not.

(SIGHS)

But you know of them.

You know more than me, I assure you.

May I be “frank”?

Mmmhmm.

I prefer to keep it that way.

Hmm.

Are we just window shopping today, or would you like to make a purchase?

Depends on the merchandise.

(ROCK MUSIC PLAYS)

After you, madam.

Pardon me.

So… will this be a large or small game hunt?

Large.

The V Seven Harbinger TTI.

Thirty rounds of .308.

It’s got a Trijicon AccuPoint 1to6 optical on top, and in case you wanna get up close and make it personal, you’ve got a side RMR for the faster, dirtier stuff.

TTI custom Benelli M2 21inch fin grip.

Oversized charging handle, oversized bolt release.

This will take a bear’s head off.

Easily.

Oh, this is a personal favorite of mine.

This…

(GUNS FIRING)

(YELPS)

Ah! Fuck!

Bastards! Fuck!

(MAN SHOUTING INDISTINCTLY)

(BANGING ON DOOR)

(YELLING)

(EARS RINGING)

(SOUNDS MUFFLING)

(MAN YELLS)

(GUNSHOTS)

(BOTH GRUNT)

(GROANS)

(SCREAMS)

(GUNSHOTS)

Motherfuckers.

All right… you didn’t hear this from me.

Their precise location has never been confirmed, since anyone who’s ever gone looking has also gone missing.

That’s bad math.

However, whispers suggest they’ve been known to gather somewhere in these peaks, deep in the mountains past Abersee and Feldkirk.

It’s not much.

It’s more than I had.

Thank you.

Sorry about your shop.

I need a car.

(STIRRING MUSIC PLAYING)

(PHONE RINGING)

Did you think I would not find out?

That you expressly disobeyed my orders?

Then tell me who they are.

I told you, we do not engage with them.

You risk the destruction of our family, and for what?

Your own selfish reasons.

Return at once or I will have no choice.

(GASPS)

(DOORBELL CHIMES)

(WINDING KEY RATTLES)

(MUSIC BOX PLAYING TCHAIKOVSKY’S SWAN LAKE)

(ENGINE REVVING)

Can I get you anything?

Just a coffee.

(DOOR OPENS)

(WHISPERS) Come, let’s go.

(DOOR OPENS)

(DOORBELL CHIMES)

(DOORBELL CHIMES)

(GUNSHOTS CONTINUE)

(GRUNTING)

(YELPS)

It’s Agnetha!

Send somebody to the restaurant!

Hurry!

(GRUNTING)

(SCREAMING)

(GLASS BREAKS)

(BOTH GRUNTING)

(BONE CRACKS)

(SCREAMING)

(GROANS)

(BREATHING HEAVILY)

(COMMOTION IN DISTANCE)

MAN: Go around the back.

Don’t let her escape!

(ALPINE FOLK MUSIC PLAYING SOFTLY)

I’m not gonna hurt you.

(MUSIC SWELLS)

(SPEAKS GERMAN)

(BANGING ON DOOR)

The fuck?

(COCKS RIFLE)

(DOORBELL CHIMES)

(ALPINE FOLK MUSIC PLAYING SOFTLY)

(MUSIC SWELLS)

(GROANS)

(BREATHING HEAVILY)

Chancellor, this is The Eye.

What is it?

The outsider has not been contained.

THE CHANCELLOR: Engage full protocols.

(BELLS CLANGING ON PA SYSTEM)

(MAN SPEAKING GERMAN)

(TENSE MUSIC PLAYING)

MAN: Find her!

Ah.

You’re having a little tea party.

Aren’t you going to say hello to your grandfather?

Where is Daddy?

Is he okay?

You have no idea, Ella, how worried I was.

All of us.

Your father… well, he broke our customs.

He was trying to take you away.

Away from me.

Away from your family.

I hate you.

That hate will make you strong, Ella.

I hate you.

LENA: Chancellor.

We got her.

Is she dead?

She’s Ruska Roma.

She has their mark.

(MUFFLED PAINED BREATHING)

You know, I met your Director once.

It was many years ago in Moscow.

Not a very pleasant lady.

But we did have a respectful conversation, nonetheless.

A shared understanding of the roles that we both play… and, more importantly, the roles that we don’t play.

The Director didn’t send me here.

The Ruska Roma has nothing to do with this.

Well, it does now.

Why are you here?

If you’ve come for the girl, you are gravely mistaken.

Ella is my granddaughter.

Someday, all of this will be hers.

My son, well… he tried to deprive her of her true heritage.

You put a contract on your own son?

You may have noticed we don’t take well to outsiders meddling in our town.

This is where people like yourself come to live, to have real lives.

To raise families.

Would you not like to someday have a family of your own?

I had a family!

I was a child.

Men came into my house. Men from your tribe.

Ah.

I see.

This is about vengeance.

They killed my father and tried to take me.

Tried to take you?

Fate is a very humbling thing.

What is it?

Well, she… she wasn’t working for Pine.

She’s here because I killed her father when she was a child.

She’s your sister.

No.

(GUNSHOTS)

For God’s sake!

THE CHANCELLOR: What are you doing?

Lena!

(DOOR CREAKS)

(GRUNTING)

(BOTH PANT HEAVILY)

All this time, I thought you were dead.

What are you talkin’ about?

You don’t remember me, do you?

You were born here, Eve.

We both were.

My little sister has come home.

When I was younger, I used to wonder…

“Why did he take you and not me?”

I mean, later I realized it was too late for me.

I’d already taken a life.

But you…

(SCOFFS) He thought he could raise you with no memory of this place, of your true home.

But I guess it never leaves your blood, does it?

In the end, we are who we are.

We are not the same.

Your people… killed my father.

Our father. Yes.

For betraying us.

And then our mother had to pay the price.

The Chancellor was trying to save you that night.

He was trying to bring you back home, as he would with anyone.

My father was trying to give me a normal life!

(CHUCKLES)

Well, he would be very proud.

You’re forcing children into this life!

As Ruska Roma has with you.

No!

She gave me a choice! I chose this!

Oh, did you?

Or did fate just find another path for you?

At least here we’re honest about who we are.

No Kikimora lies.

We’ve got eyes on her.

Cabin 83.

She’s inside with Lena, sir, talking.

Take them out.

Sir?

Kill them both.

You heard The Chancellor. Blow it.

(GROANS)

I was only nine when they told us you were dead.

Save your breath.

I missed you.

(MAN SPEAKING GERMAN)

MAN 2: (IN ENGLISH) Everyone, move in.

Check for survivors.

(MEN GROAN)

(GRUNTING)

(GROANS)

(YELPS)

(MEN GROANING)

(BREATHING HEAVILY)

THE CHANCELLOR: Strike team…

Strike team, do you copy?

Is it done?

This isn’t done until you’re dead.

(PHONE RINGS)

Yes?

We have a problem, you and I.

And what problem might that be?

That a member of your tribe has contravened a centuries old truce.

The Ruska Roma have no desire for a war.

Especially not with you.

THE CHANCELLOR: Whether you sent her or not is of no interest to me.

You will accept full consequences of her actions.

Which are?

The end of your tribe.

Your students, your fucking pets, everything.

Call her off.

THE DIRECTOR: Chancellor, she’s operating against Ruska Roma.

I could not call her off if I tried.

Then war it shall be.

Perhaps an agreement could be struck.

I can send someone to solve the problem.

Someone capable.

No more bloodshed.

If you agree to this, you must also agree that your men will not engage.

If come midnight she still breathes, retaliation will be inevitable and total.

And if the problem is taken care of?

Then I will reconsider my response.

THE DIRECTOR: Very well.

I will, of course, need your location.

A secret I assure you will die with me.

(SIZZLING)

(GROANING)

Madam, she is family.

THE DIRECTOR: She has made her choice.

The Baba Yaga.

(MICROPHONE WHINES)

Citizens of Hallstatt… this order stays in effect until the bells ring out.

As of now, you do not engage.

Anyone who feels compelled to go against this order will be cast out.

Leave the wolf to its prey.

(FOOTSTEPS APPROACHING)

She sent you here to kill me?

That’s up to you.

Or you can leave.

Your choice.

Do you remember me?

From the theater?

Remember what you said to me?

You told me I could leave,

that it was my choice.

It still is.

I’m not leaving.

(SIGHS)

You don’t have to do this.

Just leave.

(EVE GROANS)

Leave.

Just… go.

He killed my father.

I know.

Let me finish this.

Midnight.

If it isn’t done…

Rules.

And consequences.

(GROANS)

(GRUNTS)

THE EYE: Sir, he’s let her go and she’s on the attack.

I recommend we reengage full protocols.

(SIGHS)

Attention.

Every citizen is now being called to hunt the outsider.

(BELL CLANGING ON PA SYSTEM)

MAN: Let’s go.

MAN: Let’s move it, move it!

MAN 2: Check the boathouse.

MAN 3: You see anything?

(GRUNTING)

(INTENSE MUSIC PLAYING)

(BLOOD SQUELCHING)

(GROANS)

(SCREAMS)

(GROANS)

(PANTING)

(MAN SCREAMS)

(GROANS)

(GROANS)

(MUSIC INTENSIFIES)

(CHOKING)

(GROANS)

(BREATHES HEAVILY)

(YELPS)

MAN 1: She’s here!

MAN 2: Hurry up! With me.

Be on alert.

Make sure everything is clear.

(YELLS)

(BOTH GRUNTING)

(ROCK MUSIC PLAYS)

(EXHALES)

Cool.

THE EYE ON PA: Attention.

The outsider has entered the armory.

All teams proceed to the armory.

She wants me… and she wants Ella.

Orders?

THE CHANCELLOR: You find her… and you destroy her.

DEX: Come on.

MAN: Keep your eyes open.

THE EYE: Two men down at the armory entrance.

I repeat, two men down at the armory entrance.

MAN: Hold there. Hold.

(MUFFLED INDISCERNIBLE CHATTER)

Go! Go!

(MAN SCREAMING)

THE EYE: Requesting all citizens to the tunnels immediately.

All citizens proceed to the tunnels.

Move in. I got your six.

Oh, shit.

(MEN SCREAMING)

Over there!

(GUNSHOTS)

(INTENSE ROCK MUSIC PLAYING)

(ROUSING ROCK MUSIC PLAYING)

Go, go!

(MEN SCREAMING)

(BOTH GRUNT)

(GROANING)

(INTENSE MUSIC PLAYING)

(MEN SHOUTING INDISTINCTLY)

MAN: She’s there!

(GUNS FIRING)

(MEN SHRIEK)

THE EYE: We have lost sight of the outsider.

All teams be on alert.

Continue to patrol the perimeter.

MAN: We’re on the square. Eye, report back. Report back.

We’re on the square.

THE EYE ON RADIO: Alpha Team, halt! (BREAKING UP)

(RADIO STATIC)

She has exited the tunnels.

Check behind you.

(MEN SCREAMING)

(DAUNTING ROCK MUSIC PLAYING)

(DOOR OPENS)

THE EYE: Sir.

In the interest of Hallstatt’s survival, it would be best to relocate you.

In 200 years, no leader of Hallstatt has ever left the seat of power to seek shelter.

I understand.

But, sir, we’ve also lost track of John Wick.

ELLA: Let go!

Let go of me.

(OMINOUS MUSIC PLAYING)

(GRUNTS)

(ROUSING ELECTRONIC MUSIC PLAYING)

(EVE GRUNTING)

(YELLS)

(YELLS)

THE EYE ON PA: Attention. Requesting all citizens…

(MAN SHOUTS IN GERMAN)

(GROANS)

(IN ENGLISH) This is suicide. It’s fucking John Wick.

Come on. He’s only one man.

Cut across here.

(TENSE MUSIC PLAYING)

(SHRIEKS)

(BRAIN SQUELCHES)

(ENGINE ROARS)

(TIRES SCREECH)

Don’t you think we’ve had enough?

Do you really think you’re going to save her from me?

From…

From all of this?

Whatever happens here… nothing is going to change.

The village will remain, the children will be raised, and the system will continue as it has for the last thousand years.

Look at you.

You know that you don’t choose to be a killer, you are chosen.

Just like your sister was chosen.

Just like Ella has been chosen.

It is your fate and you cannot change it.

The only person you’re fighting is yourself…

It’s okay.

Let’s go.

Hmm?

(LINE RINGING)

THE DIRECTOR: Jardani?

(IN RUSSIAN)

(IN ENGLISH) So, she is dead?

He is dead.

Fine.

(TCHAIKOVSKY’S SWAN LAKE PIANO VERSION PLAYING)

Daddy?

Hey, sweetie.

Come here.

Get up here.

Room 814.

I trust the talk went well?

Checking in, hmm?

Yes.

Safe haven, Miss MaCarro.

You may have cut the snake’s head, but the body still lives.

They’ll be looking for you.

(MUSIC BOX PLAYING TCHAIKOVSKY’S SWAN LAKE)

(AUDIENCE APPLAUDING)

(SWAN LAKE BY TCHAIKOVSKY PLAYING)

(PHONE RINGS)

Contract services. How may I help you?

Name on the account?

Processing.

(PHONE BUZZING)

(PHONE BUZZING)

(FIGHT LIKE A GIRL BY EVANESCENCE FT. K.FLAY PLAYS)

♪ One step closer and you’re all mine ♪

♪ You leave me no choice ♪

♪ Burned into mind ♪

♪ I’m going in for the kill ♪

♪ There is no other way out ♪

♪ If you need to baby ♪

♪ Cry, cry about it Why don’t you cry? ♪

♪ Time to pay for what you started ♪

♪ Who’s sorry now? ♪

♪ Tell your lies Yeah, you can run your mouth ♪

♪ But can you fight like a girl? ♪

♪ Fight like a girl ♪

♪ And take this world ♪

♪ Tonight, you’re the victim ♪

♪ Of your own crime ♪

♪ You made your choice ♪

♪ You’ll swallow your fate ♪

♪ Stone cold ♪

♪ Feed the snakes ♪

♪ Hold that fire Say my name ♪

♪ Baby, you can cry ♪

♪ Cry, cry about it ♪

♪ Why don’t you cry? ♪

♪ Time to pay for what you started ♪

♪ Who’s sorry now? ♪

♪ Tell your lies ♪

♪ Yeah, you can run your mouth ♪

♪ But can you fight like a girl? ♪

♪ Fight like a girl ♪

♪ Sinner and savior I’ve been walking the line ♪

♪ Killers collide ♪

♪ The feeling an adrenaline high ♪

♪ Violent behavior in my blood ♪

♪ No one but myself to trust ♪

♪ Vengeance well that shit’s a hell of a drug ♪

♪ Break the cycle I don’t wanna ♪

♪ Break your spinal yeah I’m gonna ♪

♪ My finger on the trigger ♪

♪ I’ve been feeding the pain ♪

♪ You’ll never fight like a girl ♪

♪ So I keep winning the game ♪

♪ I wanna see you cry ♪

♪ Cry, cry about it ♪

♪ Why don’t you cry? ♪

♪ Time to pay for what you started ♪

♪ Who’s sorry now? Tell your lies ♪

♪ Yeah, you can run your mouth ♪

♪ But can you fight like a girl? ♪

♪ Sinner and savior I’ve been walking the line ♪

♪ Devil disguised ♪

♪ I see it when I look in your eyes ♪

♪ Yeah, you can run your mouth ♪

♪ But can you fight like a girl? ♪

♪ Fight like a girl ♪

(HAND THAT FEEDS BY HALSEY AND AMY LEE PLAYING)

♪ I know I should have the pride ♪

♪ I know I should have the spirit ♪

♪ I know you would tell a lie ♪

♪ If you knew I couldn’t hear it ♪

♪ You’d say it oh, so proudly ♪

♪ But do you know your crimes? ♪

♪ And do you think about me? ♪

♪ And were you ever mine? ♪

♪ You say I mean the world to you ♪

♪ To keep me on my knees ♪

♪ Then dig the knife in deeper ♪

♪ Just to watch how much I bleed ♪

♪ I’m stripped to the bone I don’t want to be alone ♪

♪ No matter how I plead ♪

♪ You do it ’cause you know you can ♪

♪ Turn around and bite the hand that feeds ♪

♪ Every promise that you break ♪

♪ Every time you try to place the blame on me ♪

♪ I don’t want to control the pain ♪

♪ Turn it into the fire I need ♪

♪ The feeling rushes through me ♪

♪ Can you still hear me cry? ♪

♪ But after all I’m standing ♪

♪ On my own this time ♪

♪ You say I mean the world to you ♪

♪ To keep me on my knees Keep me on my knees ♪

♪ Then dig the knife in deeper ♪

♪ Just to watch how much I bleed ♪

♪ I’m stripped to the bone I don’t want to be alone ♪

♪ No matter how I plead ♪

♪ You do it ’cause you know you can ♪

♪ Turn around and bite the hand that feeds ♪

♪ I played your twisted game Played your twisted game ♪

♪ Now watch me walk through the flames ♪

♪ Choking on the taste of your mistakes ♪

♪ And now you’re the one on your knees ♪

♪ That’s why you bite the hand that feeds ♪

(GRIPPING ELECTRONIC MUSIC PLAYING)

(INTRIGUING MUSIC PLAYING)

(MUSIC BOX PLAYING TCHAIKOVSKY’S SWAN LAKE)